Moses Sumney is a new Los Angeles-based singer & songwriter. Growing up, he was so shy that he would write songs avidly but hide them inside his mattress.

At 20, he moved out of his parents’ house to study creative writing at UCLA and finally gathered the courage to start performing music. After purchasing a beat-up guitar from a friend, he taught himself to play and accompany himself. He grew quickly as an artist at UCLA, soon performing weekly alongside the university’s most esteemed musicians. Now graduated, he creates soul-infused folk music using guitar and unique arrangements built on loop pedals.

Recently, SPIN Magazine described him as a “soul-folk warrior”.

This article originally appeared on






By David Jeffries, AllMusic

American rapper, singer, producer, and songwriter Luke Christopher worked behind the scenes with Usher and John Legend before embarking on a solo career with a series of mixtapes. Born and raised in Los Angeles, Christopher started experimenting with songwriting and production as a teenager. He made his debut in 2012 with the release of mixtapes Building Skies and TMRW, TMRW. The song “Life Jackets” became the latter tape’s breakout hit, thanks in part to its clever sampling of Scala & Kolacny Brothers’ version of Radiohead’s “Creep.” He signed with ByStorm/RCA in 2013 prior to the release of his self-released EP The Wonder Years, Pt. 1. A sequel mixtape, 2014’s TMRW, TMRW, Pt. 2, included production credits by Foster the People, Wave Racer, Shlohmo, and Asher Roth. In 2015, Christopher issued two companion EPs, YSTRDY and TMRW. His “Lot to Learn” single found its way into the Top 30 on the Australian, Belgian, Norwegian, and Swedish charts.

This biography originally appeared on AllMusic.






By Tatiana Cirisano, Billboard

The 9-year-old America’s Got Talent contestant Celine Tam — named after vocal powerhouse Celine Dion — lived up to her namesake in her AGT audition with an unexpectedly stunning cover of Dion’s “My Heart Will Go On.”

While the young Dion super-fan had no problem charming both the audience and judges with her frequent references to the singer, it’s fair to say that no one would have expected the jaw-dropping performance that followed from the kid.

Things really got interesting when Tam reached the 1997 track’s iconic climax, winning a standing ovation from the crowd (not to mention the rare smile from judge Simon Cowell).

Tam (whose younger sister is named Dion), told the judges she first realized her own talent while singing along to the classic track in the car with her dad. “He was like, ‘Wow,'” Tam said, as her family watched from backstage.

Check out the entire shocking performance, below.

This article originally appeared on Billboard.





















































By Suzette Fernandez, Billboard

YouTube has become a key factor for the discovery of new talent. The latest YouTube stars, siblings Adexe & Nau, are ready to show that they are more than a social media sensation.

After uploading a series of videos on YouTube, Adexe & Nau — born in Canary Islands, Spain — have collected more than 1 billion views overall (4.5 million daily views and 9 million views per day on weekends). As of today, they have more than 3.6 million subscriptions on the streaming channel. This achievement has highlighted them globally and caught the attention of Sony Music Latin, who signed the pair earlier this year.

Meet this week’s Billboard Latin artist on the rise:

Names: Adexe Gutiérrez Hernández and Nauzet Gutiérrez Hernández

Ages: 11 and 14 years old, respectively

Major Accomplishment: Their first official single, “Tu y Yo,” surpassed 110 million views in less than a year.

Recommended Song: Their new single “Sólo Amigos”

What’s Next: Touring! The brothers are set to visit Spain, Mexico, Argentina, Puerto Rico and the U.S., plus the possibility of doing Brazil’s Rock in Rio next year.

This article was originally posted on Billboard.









































By Judy Cantor-Navas, Billboard

Flamenco chill is over and out as frontwoman “dismantles” legendary Spanish band to perform under her own name.

Spanish singer Lamari recently announced the end of Chambao, the group that laid claim to the term “flamenco chill,” the laid-back Spanish electronic groove that has reverberated on hundreds of Ibiza summer nights. Over 16 years, Lamari had fronted the popular band – a summer festival staple in Spain – through personnel changes and a musical evolution. The latest – and presumably last – Chambao album is 2016’s Nuevo Ciclo, whose rootsy fusion of Latin alternative songs she co-produced with Calle 13’s Eduardo Cabra.

“I’ve been doing Chambao alone for 11 years but I’ve continued to speak in plural,” she said, during an interview before a sold-out Chambao concert in Barcelona earlier this year.

No more. Lamari will, in her words, “dismantle” Chambao at a concert at Madrid’s Palacio de Deportes stadium next January with a line-up of special guests. She says she’ll perform simply as Lamari from then on, backed by her current band.

While Lamari no longer wants to be identified with Chambao, she’s even less interested in being known for her one-time, but very successful, collaboration with Ricky Martin, “Tu Recuerdo.” The song from Martin’s 2006 MTV Unplugged rose to no. 1 on Billboard’s Hot Latin Songs chart, and was no. 3 on the Hot Latin Songs year-end chart. It was the ASCAP Latin Song of the Year and was nominated for Record of the Year at the 2007 Latin Grammys.

The song made Lamari a recognized name in the United States. But she laughs at the suggestion that she might have better exploited that success by touring behind the hit, or even moving to Miami, as many other Spanish and Latin American artists have done.

“I didn’t go looking for Ricky Martin,” she says during an interview that begins in the back of her tour manager’s van and continues over beer and pulpo gallego in a corner bar. “He came to me to have my voice on his song. I’m not what you’d call a fan of his music. I can say that I’m a fan of Ricky Martin himself, because he really is a beautiful person. But to me he’s just another guy I know. I didn’t do that collaboration to gain anything by it. It’s not about ‘look what I’ve done, let’s see if I can get booked for another concert.”

Lamari, whose given name is María del Mar Rodríguez Carnero, has collaborated with other well-known artists including Cesaria Evora, Jarabe de Palo and Ivan Lins; Jorge Drexler is among several guest artists who appear on Nuevo Ciclo.

“The collaboration with Ricky Martin was different than others I’ve done because we are so different from one another,” she says in retrospect. “Ricky has always been a sex symbol, and Chambao has been about bare feet, the beach, singing to our neighbor and to the planet and the animals.”

Chambao was casually formed in Lamari’s hometown, Malaga, in Southern Spain, where she got together with two neighbors, musicians Eduardo Casañ (“El Edi”) and Daniel Casañ (“Dani”). The singer explains that they talked about recording a big sound, but had little idea how, let alone the budget, to orchestrate it.

“We said ‘how are we going to put three violins, a bass and all of these things that we wanted to put into it?” Lamari recalls. Enter the Colombian-born Dutch musician and producer Henrik Takkenberg and his MIDI keyboard, an instrument that came to exemplify the group’s sound.

Takkenberg, who came to Malaga to vacation and check out the music scene; discovered the “good vibes” of flamenco, and became the fourth member and producer of Chambao. The group’s music first appeared on Takkenberg’s 2002 compilation album Flamenco Chill on Sony; that led to an enduring contract for the band with that label. The album included Chambao’s version of the Paco de Lucia and Camaron de la Isla classic, “Como el Agua.”

“We didn’t try to find a style,” Lamari recalls. “The style found us. We didn’t have a specific idea when we started making music. But when we did we called it flamenco chill. We could have called it Malagueña fusion, or whatever.”

Chambao’s sound evolved into a kind of flamenco prog rock. The band turned up the volume at its concerts, which featured light shows, and of course, synthesizers. The band won Spain’s prestigious Ondas radio award, among others, for its trippy debut album, Endorfinas en la Mente. But the original group was short-lived. Takkenberg, Dani and El Edi had departed the group by 2005, the year its second studio album, Pokito a Poko was released. (In 2006, Takkenberg committed suicide in Madrid; an obituary in Spanish newspaper El Pais suggested that “he was perhaps too nice to be involved in the music industry.” The Casañs, who are cousins, now own a music production company in Malaga).

In 2005, Lamari was also diagnosed with breast cancer.

“I said I can’t be sitting on the sofa waiting for my next cancer treatment. I’m going on tour. So I put a scarf over my head and got started.” She rebuilt the band and headed out behind Pokito a Poko, which went gold in Spain soon after its release. Her hair was just growing out when she performed at Martin’s Unplugged. She was in treatment until 2010.

While U.S. Latin music listeners may think of her as flamenco singer, Lamari rejects that label; more accurately, she says, she’s a singer from Southern Spain.

“I’m a great admirer of flamenco and it’s what gets me up out of my chair: the wildness of it, the uncontrollable emotions,” she says. “But I don’t do flamenco per se, I write songs. I don’t live a flamenco lifestyle, I don’t dress flamenco. But I’m from Andalusia. In my house my mother was always singing flamenco, I didn’t learn it from records. So for me it’s very natural. “

She describes Nuevo Ciclo as “a great fusion between the music of Chambao of yesterday and today,” and she credits Cabra with its more percussive, less electronic sound. “Eduardo likes to play with sounds,” she says. “That’s why I wanted him for the album.”

Lamari still lives in Malaga, where she can be with her family and her friends since forever, and, basically, as she describes it, doing whatever she wants to do. “I don’t want my albums to be commercial I want them to be honest,” she says. “What I want to do is have a lot of fun and do a good job because I love what I do.”

This summer, Lamari will lead Chambao on its final tour under that name. The band will play Ibiza and several festivals in Spain. Tickets are now on sale for the final concert in Madrid.

This article was originally posted on Billboard.






Colombian musician, Mario Galeano, the force behind the band Frente Cumbiero, and English producer Will Holland (A.K.A. Quantic), have joined forces to create the Ondatrópica project.

This project, which is supported by the British Council, exists to explore and expand the tropical sound of Colombia in its rawest form and to marry it with the cool sound of London. The immediate result is not just a new recording – to be released within the next few months – but a hot band which will have the honour of representing Colombia at the cultural *Olympiads* in *London*.Ondatrópica came about as a result of the success of Frente Cumbiero Meets Mad Professoralbum collaboration, which led to the British Council commissioning Mario Galeano to generate a new collaboration, this time with Will Holland (AKA: Quantic).

The project will unfold in three phases. Phase one, focused on the creation and recording of the record, brought together a group of top musicians representing both classic and more modern styles of Colombian music. In this project, which is unique in national music history, artists such as Fruko, Anibal Velásquez, Michi Sarmiento, Alfredito Linares, Pedro Ramayá Beltran, Markitos Mikolta, and Wilson Viveros joined a group of younger Colombian musicians and the UK’s Quantic to (re)generate the excitement that positioned Colombian music as one of the most influential of the continent in past decades.

The aim of exploring a musical path with these pioneers and visionaries from the 60s, 70s and 80s, is not about nostalgia, but is a reaffirmation of the validity and contemporariness of the concept. With this in mind, classic standards of production take centre stage, with equipment and techniques typical of analogue sound – for example, vintage microphones and taking advantage of the expertise of key musical figures such as legendary engineer and producer Mario Rincón, responsible for some of the best recordings of the 1970s.

The legendary Discos Fuentes studio, in Medellin, with a history spanning over 75 years, and with a pedigree which includes Los Corraleros de Majagual, Joe Arroyo, Andrés Landero and Afrosound, was the studio of choice!

The second phase of the project will focus on creating Los Irreales de Ondatrópica, a group of 10 musicians who will, again, represent the old and the new. From a base in Bogotá, the band are adapting the initial Discos Fuentes repertoire, preparing to take the world stage by storm in July 2012.

The last and final phase of Ondatrópica, their presentation in London, will show the world that the most compelling and relevant Colombian music is here to be rediscover.

This article originally appeared on








































































By Bekki Bemrose, AllMusic

Singer/songwriter Aldous Harding first drew praise for the gothic folk and stark emotionality of her 2015 debut that brought about comparisons to both Kate Bush and Scott Walker. She grew up as Hannah Harding in the town of Lyttelton near Christchurch in New Zealand to musician parents. Her mother was folk singer Lorina Harding, and it was on her Folk-Tui-winning record Clean Break that the 13-year-old Harding made here recording debut. Despite this early foray into the music business, the young Harding had no interest in pursuing a career as a musician, believing it to be a precarious existence. Just a couple of years later, she began to let go of her dreams of becoming a vet when she started singing and writing songs alongside friend and fellow musician Nadia Reid. By 2008 she was performing backup vocals for the traveling string band the Eastern, and Harding got an early break when she was spotted busking by Anika Moa, who on the back of that performance invited the young musician to open for her at her show that same night. In 2012 Harding changed her forename to Aldous and asked Marlon Williams and Ben Edwards to co-produce what would become her debut record. The self-titled release garnered much critical acclaim, and Harding toured the album extensively. For her follow-up, she signed to British independent label 4AD, and enlisted the help of John Parish (Sparklehorse, PJ Harvey) to co-produce the record. Her sophomore album Party was released in 2017, and was preceded by the singles “Horizon” and “Imagining My Man.”

This article originally appeared on AllMusic.







































By Ali Shaheed Muhammad and Frannie Kelley

Terrace Martin takes his job very seriously. Here’s just a taste of what he sees as at stake when he goes to work: “You got the Marines. You got the Army. We are the only people that soothe them. The art community are the only people that soothe the people that violently defend us cause they have to sometime, or sometime they don’t, but regardless we are the only community that defends them.”

This conversation, our second with Terrace, got heavy, even teary. It was always going to, and we taped only two days after Phife passed. All these words came out of a too-tired-and-sad-to-be-false period of time, which isn’t to say that they aren’t leavened by Puffy stories and suspect relationship advice.

ALI SHAHEED MUHAMMAD: Terrace Martin in the building.


MUHAMMAD: Part two.

TERRACE MARTIN: Part two, man. The sequel.

MUHAMMAD: It’s happening, when we have return guests.

MARTIN: I love that, yeah.

MUHAMMAD: I’m like, “Oh, yeah. We official. We growing.”

MARTIN: I’m almost there, baby.

MUHAMMAD: No, you there.

MARTIN: I’m there. I’m here.

MUHAMMAD: Actually, you’re making us official.

MARTIN: S***. Shoot. Can I cuss on this?


KELLEY: Yeah. It’s fine.

MARTIN: I’m going to still not cuss. That’s my new thing, try not to f****** cuss so much.

MUHAMMAD: How you doing?

MARTIN: Cool, man. I’m happy, man.

MUHAMMAD: That’s important.

MARTIN: I’m happy.

MUHAMMAD: A lot of people might not be able to say that readily. Why are you happy?

MARTIN: I’m happy because, no matter, what I’ll always go under the understanding of: you could find beauty in every problem, and every day you wake up it’s always going to be problems. And this is not even no — this is not no deep miracle, spiritual s***. This is just really how I really feel. It’s beauty in every problem, and when I was younger, I could never accept challenges. I would turn away from challenges, life challenges, this, and that.

And then I realized that these challenges will never go nowhere in your f****** life. Challenge will always be here, so you have to press through every challenge. And I know every day is going to wake up; it’s going to be some form of challenge, but now I’m excited for every challenge. I’m excited for every challenge, every obstacle. I’m not even talking about in music; I’m talking about in life. None of my conversations are really on music now anyway.

But every obstacle that I encounter, I feel like once I go through it — cause I’ma make it through all of them — so once I go through the obstacle and I make it through, it’s like my own spiritual trophy. So I actually get up and I look forward to what may be the obstacle, cause whatever it is I’m gonna conquer it.

So that’s when I say I’m happy, that means I don’t live in fear. I don’t live in disbelief. I understand faith. I understand you have to lose faith to gain faith and to really understand faith. So that’s why I’m happy. Cause I understand those Earth, Wind & Fire-type things in my life right now. And I didn’t always use to understand that s***.

MUHAMMAD: What became the eye-opener for you to begin to see life that way?

MARTIN: When I started — when I realized this — cause I was young growing up in this record business. What started me — those things — I started opening my eyes about five or six years ago when things wasn’t that moving, as far as in Los Angeles with the hip-hop scene and certain — it was just another scene that I wasn’t versed at that was going on.

And sometime when — sometime in music when you don’t — it’s a psychological thing that happens cause in music, especially — unfortunately in a lot of things — but hip-hop music now, and I believe the past 15 years, some people — it became a thing to where it was OK to sound like everybody else and be like everybody else and look like everybody else. But all of my heroes and all of my teachers told me on records that I had to be different. So at the time, when I finally got good enough to be different, it was popular to sound like everybody else. And that was puzzling to me just in music in general, cause I don’t believe — I believe you should be yourself.

So it was a dark time business-wise for me and a lot of my friends in Los Angeles on the music scene to where we wasn’t working. Nobody was calling us to produce the records, to do the records, or record labels wasn’t calling. It was just a strong thing that was like a black cloud, I felt like, over Los Angeles, that — it really helped me get closer back to my saxophone. Cause I’ve always been a saxophone player, but when the records wasn’t going on, I had to play my horn really to make a real living again.

And through that is where I found out that — I realized what loyalty was, cause I had been disloyal really to the art. And I fell in love with kind of what it was supposed to be about, and that’s how I got lost in transition. That’s how all of us got lost in transition though. It was like a plague of some f***** up s*** going on in the music business. Just something was going on. But it —

KELLEY: Wait. So what was happening then? 2010.

MARTIN: They just —

KELLEY: Like music — what was popular? I can’t remember.

MARTIN: Music is always inspired by life, what goes on around.

KELLEY: For sure.

MARTIN: You know what I’m saying? I think a lot of just back then, it was just — I think it was going through a growing spurt. A growing thing. And that’s just what I — now that I’m older and I look back, I think it was that, and — I just think it was that.

But going through that dark time and not being called, not getting the phone answered or this and that, then I realized once it was just me alone in the room with my art, with my music, and I realized like, “You know what? Let me stop complaining about everything, cause at least I have my health and I’m able to get up in the morning. Play the horn, and I could still listen to music and then I’m just going to keep practicing everyday and stay loyal to the sound I want to do. And one day, something’s going to happen.”

MUHAMMAD: That’s a very —

MARTIN: And then that little m*********** from Compton came out, Kendrick Lamar.

MUHAMMAD: Well, I was gonna ask about him.

MARTIN: What happened?

MUHAMMAD: Since you brought him up, I was like — well, some people may take that and say, “Well, things got a little bit better. Maybe that’s why you can see things, life, from a brighter perspective.” But —


MUHAMMAD: But before we go there, in that sort of adversity, in having to look at life through a different lens because you’re now focused on yourself, focused on your relationship with your horn, focused on seeing life from a different perspective, it’s very freeing. And it may be difficult for people who are not there yet to really see how free it is. So in other areas of your life, if that’s how you looking, how does it then begin to pay off for you?

What I’m asking is that, now that you have a new understanding, a new vision, an outlook on life —


MUHAMMAD: — and how you’re treating just life in general when you wake up, how does it then, that transformation, begin to pay off for you? Like, you’re seeing, I guess, the fruits of that growth.

MARTIN: Because it — now that I understand. It’s — I’ve learned how to live alone now. Like, I’ve learned how to sleep alone now. Same thing with a relationship. I’ve learned how to be alone, because I had to be alone, you know what I’m saying? There was nobody to call or — and what I mean nobody to call, I mean it was — and when I mean me, it was — it’s a few of us. But me in general, I had to learn how to be confident and happy with the blessings I have around me and the people that I have around me and the facility that the creator has giving me to be able to move how I move, in general.

So I think once I really humbled myself within myself, things start turning around. So it’s paid off, because I’ve learned how to be alone. I’ve been stripped down of everything to be made whole again, to build back up again. You know what I’m saying? So now my values are different, my morals are just totally different, my foresight, I know my job. My job is only to be a servant of the community, and just to inspire. That’s it. That’s my whole job, and I know that.

That’s why certain things don’t really get to me. Cause I’m grounded. I know what I have to do, and I know that we’re on a mission. I know this whole movement that we’re on, art, is on a mission. We’ve been told to do something by the forefathers before us, you know, P.E., Tribe Called Quest, N.W.A. Like, we’ve been set a manual. So we have a mission. We have a book that we’re following right now.

So that’s how it’s paid off, because I’ve stayed loyal and I believe your gift will make room for you if you just stay loyal and just stay put. So many people just get — right when you get frustrated like “Ah!” and then bam something cool could happen, you know what I’m saying? And I believe that’s what — that’s what those negative energies want to do. It’s like, they want to confuse you, and they want to steal your joy.

Cause once your joy is gone, it’s a wrap. Cause happiness is temporary; joy is everlasting. So once your joy is gone, damn, then they could f*** with your head, and once they f*** with your head, you just left on the side of the road.

MUHAMMAD: So with regards to the new record, Velvet Portraits, it definitely sounds — it sounds like a transformation, this record. I don’t know what it is. It’s something about it. It seems lighter and pleasant. I don’t know if that’s —

MARTIN: Yeah, it is.

MUHAMMAD: — deliberate, or if that’s just manifestation of where you are.

MARTIN: My art, most of my art, is — a lot of it, at least 75% of it since I could remember it, even when I used to draw pictures as a kid on canvases, most of my art sometime is always reflecting the opposite of what I’m seeing or what I’ve been through or what I’ve seen.

So you have some cases in hip-hop, the gangster rapper, some certain ones will talk about everything they’ve seen, everything they’ve been through, everything they’ve done. Then you have the gangster that don’t rap, that doesn’t talk about anything. Those are my heroes. And all they did was do things and they would soothe people in the neighborhood of the other guys that sometime would come in and disrupt the neighborhood.

Those are my — that was my earliest experience with the first formation of what kind of Africa was I read about, just in a different way, as a village and a community. So my heroes are people like that, that just stayed and made sure their family was taken care of.

So art-wise, my thing is like with all these crazy things going on — you have some people that literally talk about what’s going on. Like, you have “We gon’ be alright.” You have J. Cole. You have all these people. And MCs can just — bam — pinpoint it. So my thing is I didn’t want to do art like that, because that’s being done by greats right now. I’m — I don’t believe in — I believe in finding my corner and trying to fill that void to paint a different picture. So my thing is I want to do, musically, soothing music to soothe the times of what’s going on.


By Andy Kellman, AllMusic

Jaye Adams, known as Jazz Cartier (and alternately Jacuzzi La Fleur), is a rapper whose vantage is reflected in song titles like “See You in Hell,” “Never Too Faded,” and “Black and Misguided.” Born in Toronto, Adams had to adapt to numerous environments in his youth. The stepson of a diplomat, he lived in several cities across the U.S., and also spent time in Barbados and Kuwait. He debuted in 2011, as a teenager, with the mixtape Losing Elisabeth. After he settled back into his original hometown, Adams temporarily sold drugs to support himself and took his time with the follow-up, Marauding in Paradise, released in 2015. The patience paid off, as the mixtape was a long-list nominee for that year’s Polaris Music Prize. Despite the exposure, Adams remained independent, without a label. Hotel Paranoia arrived the following year and was received with another Polaris nomination.

This article was originally posted on AllMusic.







































By Chuck Dauphin, Billboard

Even if you’re not acquainted with country singer Aileeah Colgan, her “Country Scene” music video will definitely feel familiar. During the clip, she recreates the cover artwork of 21 iconic country albums as a way of honoring the legends she’s looked up to for so many years.

“When we sat down to write the song, we had talked about how people from the outside looking in think that the only thing that country music is about is dirt roads, belt buckles, and Johnny Cash,” she admits to Billboard. “You know what? That’s ok. I am a country girl. I love dirt roads, and I have a collection of belt buckles. I am country and that’s ok. So we wanted to pay homage to all the artists that have paved the way for all of us. We wanted it to be a fun and creative way of saying thank you for shining the light on country music, and making it possible for me to do what I’m doing today. That’s how the video came about.”

The singer filmed the video around her 24th birthday, so she chose the same number of album covers to tip her hat to in the video. Three were omitted from the final cut. When asked about some of her favorites during the clip, she doesn’t hesitate. “I watch it, and I laugh, because there were so many moments where filming it was so funny. The Conway Twitty album cover was so fun. There’s a part in the video where I do this awkward wink, and I am known for how bad of a wink I do. I got a chance to really just be myself.” Colgan stays true to the Twitty image of his later years, complete with his perm from 1979. She says her tributes to artists such as Garth Brooks, Dolly Parton, and Johnny Cash have been well-received.

“Everything has been so positive. People have commented about this or that album being their favorites. I think that people have been refreshed that it was a creative tribute to the artists they love. Obviously, they don’t know who I am yet, but they connect to these albums. It’s been a great experience for me in re-creating the albums, and becoming familiar with all the songs all over again.”

Colgan is proud of her country roots, which she hopes is apparent from “Country Scene.” “Being able to pretend to be in their footprints was an honor, because these people have done so much for me and for country music. I’m just grateful for the chance to pretend to fill those shoes. It’s been a great experience all the way around.

When asked about her formative years, the songstress says that she was born in Missouri, and with her father being a traveling pastor, the family was on the move a lot. But their support for her dreams is something she feels very strongly. “I’m the youngest of seven kids, and my father was a pastor. We didn’t have much money growing up. My parents have always been so great in supporting me. I want to work incredibly hard so they don’t have to. Being able to see some success with the video has been amazing. I can see my path. I can feel it in my soul that this is the right thing for me to do as a career.”

Music is something that runs in her blood, as her mother had a stint as a recording artist years ago. “In her early years, my mom was a touring Gospel singer. I love going into used record stores and Goodwills and trying to find her records. They were Katie and The Sunshine Girls and the Blessed Hope Singers. You can still find their records around. I’m very fortunate to have parents and siblings that support me.”

Colgan, who now calls Illinois her home, will soon be releasing a new EP titled Life’s A Beach, which she plans to promote on the fair and festival circuits. Her method of travel? A red Ford conversion van named Reba.

This article originally appeared on Billboard.