Hailing from planet Earth, sister duo Girl Tones are trashing the party in the official video for their raucous debut single ‘Fade Away.’ Directed by Casey Pierce the video is full of color-blocked primary tones as the duo hosts a rageful pity party. Crushing flowers, tearing through walls, and rigging drum kits with balloons, Girl Tones thrashes over being burned over and over again. On the video, Girl Tones shared, “Everyone loves a party. But when does it stop being a party and become a chore?”

Rising indie-pop artist Kiki Kramer is set to captivate listeners with her debut single, ‘Relevant,’ out now on Suretone Records. The record is a moody, honest, and playfully insincere track that critiques society’s obsession with fame fueled by social media. The song combines elements of hyper-pop and jazz to create a sound that is both unique and entirely relatable. A distinct lyricist, Kiki’s writing echo the struggles of seeking validation in a digital world: “Give me your views, likes, all your attention babe. I try so hard to win it. I’m not the bad guy, but I’m not benevolent. Maybe I’d kill just to be relevant,” she sings. Her aesthetic is as important to Kiki as the sound, and the video captures this, with nods to her influences as disparate as Japanese anime and horror flicks, BDSM and rococo. Video director Marc Klasfeld (Charli XCX, Sky Ferreira, Foo Fighters, Lady Gaga, Jessie J, Prince, Britney Spears, Wiz Khalifa and more) perfectly captures the divinely creepy, the mood and message. “I had gotten annoyed trying to film videos for TikTok. I felt that my music would never be valid unless I had a following behind it” she says. “The song highlights how far someone might go for that kind of attention.”

Rising dance-pop sensation Ella Rosa unveils the captivating music video for her latest single, ‘FUN.’ The video plunges viewers into a kaleidoscopic world of playful mischief and trippy visuals, perfectly matching the track’s hypnotic melodies and pulsating beats. True to its title, ‘FUN’ is a vibrant, tongue-in-cheek celebration of the wild and wonderfully unhinged side of life, drawing you into Ella Rosa’s charismatic universe.

Charlotte Plank has released her new single ‘Ellen’. The track follows her recent single ‘Stargirl’, and serves as a letter to her younger self, with its title drawn from her own middle name. “Ellen is my middle name – signifying the girl in between,” Charlotte explains. “The song was written about a time in my life where I had lost faith in music (with it being such a heavenly but hellish place at times) and myself. I was working two jobs, trying to figure out a way to make music work whilst being on a bit of a path of self destruction and being lost with who I was. I had so much bubbling under the surface and more to give than my jobs in customer service – but I was scared to try. And when I wrote this at 20 years old I thought: if I could hold on, battle the demons and ‘make it’ by 27 – beyond some of my idols like Amy Winehouse & Kurt Cobain, I’d be okay.” [via Dork]

San Francisco shoe gaze x grunge pop trio chokecherry — comprised of vocalist/guitarist Izzie Clark and bassist/vocalist E. Scarlett Levinson, along with drummer Abri Crocitto — have dropped the incredibly buzzy EP Messy Star, their debut release for Fearless Records. chokecherry have also shared the epic video for the title track, in which the band pulls back the curtain on some of its unexpected influences. Often the band’s closing number during their live sets, ‘Messy Star’ is a thrashing nod to their heavier sound, taking inspiration from artists like Turnstile, Ty Segall, and Mannequin Pussy. The track tells a story of metaphorical demonic possession, and being at the mercy of a mischievous and destructive “shadow self.” “This song is truly meant to make you dance and lose your mind in the moshpit,” the band states. “Lyrically, the song touches on themes of being at war with yourself (or rather, your shadow self) and peeling back the curtain on the dark parts of the human psyche. The narrator of the track sits in a more fictional role than our other songs, which was fun to explore and build a narrative around — a sort of villain arc, if you will. The nature of the ‘possession’ is open to interpretation, but listeners can relate to its references to addiction, insecurity, and self-destruction. For us, it invokes memories of the sweaty L.A. punk shows that shaped our musical repertoire.”chokecherry continue, “We wrote this song as a homage to our doom, psych rock, and hardcore influences. This is the earliest chokecherry track that made it to a record. From the track’s inception, it was an odyssey that took different forms from its live performances to its eventual recording for this EP.” [via Metal Heads Forever]

Madeline Goldstein channels raw energy into ‘1996 Expectations’; a tightrope walk through the complexities of the music business. Imagine Madonna fronting Violator-era Depeche Mode—her voice both smoky and commanding, exuding confidence and control. Goldstein’s performance is a challenge to the restrictive roles often imposed on women, as she navigates the tension between vulnerability and strength. Her sultry, bold vocals cut through the synth-driven track, embodying the struggle of maintaining authenticity in an industry that often demands compromise. With each note, she pushes against boundaries, embracing power and independence in a world eager to define her. “Expectations are the gun – the killer – of a pure thought or action,” Goldstein asserts. “And when you’ve shown everyone yourself, inside-out, and they still want more, what’s next? It’s an introduction to the themes of voyeurism and constraint on the new record, whether that be inside the mind, inside the body, or in the open spaces of the everyday world.” Tyler Carlin’s retrofuturistic video for ‘1996 Expectations’ traps Goldstein in a stark, stylized cell, where every tick of the clock and tilt of the scales of justice marks the relentless grind of time and the burden of societal roles. She paces, anxious, her movements echoing the weight of those unspoken rules that press harder with each passing second. The nods to German expressionism linger in the harsh angles and the cold geometry of the space, while early ’80s video aesthetics creep through the cracks, reminding us that we’ve seen this all before. [via Post Punk]

Bambie Thug has released their new single ‘Fangtasy’. The song follows the release of ‘Hex So Heavy’ earlier this summer, and sees them explore themes of self-empowerment and breaking free from control. The accompanying video, directed by Marco Pavone, features an animated gothic mansion party. Speaking about the new single, Bambie says: “probably one of the best Halloween songs ever that you can also listen to all year round.” Of the video, they add: “I wanted to create something fun and playful that would resonate with fáns of all ages in my Coven. We teamed up with an Italian animation studio to bring the vision to life, but the creative direction and storytelling were all conjured up by my sister, Holly. The characters’ aesthetics were inspired by the incredible fan art I’ve received, especially from a fan named Broonney. “The video is filled with Easter eggs and inside jokes from my time on tour and stars The Darklings, who have my back against all kinds of vampires, both on and off-screen. The animation pulls in references from iconic favourites like The Powerpuff Girls, The Love Witch, Grease, and Sabrina: The Animated Series (1999).” [via Dork]

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Elke is back with her sophomore record Divine Urge, which sees Paramore’s Zac Farro return to take on percussion duties while songwriter Jake McMullen joins Kayla Graninger (Elke) on co-production duty. The first single from the record, ‘Enchanté,’ lands somewhere between the blog-era synth-led quirkiness of Chairlift and YACHT and the maximalist radio pop of that same period, with jarring switches in vibe and tempo helping to relay the song’s message regarding the divides between humankind, nature, and technology. “Nature works together with what’s fighting against it without the opponent knowing. It finds a way to keep growing by adapting.” Graninger philosophizes while introducing the track’s Bérénice Bear Eveno–directed video, which sees the songwriter embodying the aforementioned factions of mankind, technology, and the natural world. “This is why no matter how much we develop as a society, we will always have to return to nature—it is wiser than us and cannot be controlled. Sometimes we as people wish to possess the earth to feel alive, but nature teaches us the opposite, to just be alive is to possess the nature inside us.” [via FLOOD]

Enigmatic alt-pop artist Tlya X An continues her journey with the release of her new hyper-pop single, ‘Ninja’. Following the acclaimed ‘Mi Mind Unknown,’ Tlya once again takes the reins as director and editor, collaborating with Oliver Whitehouse to deliver a deliciously quirky music video alongside the track. Carried by a driving drumbeat and Tlya X An’s unique, magnetic vocals, this latest offering masterfully blends hyperpop, R&B, and glitchy electronica. Channelling the pulsating basslines of M.I.A., Charli XCX’s glossy allure and a touch of Grimes’ eccentric genius, ‘Ninja’ is another vibrant portal into Tlya’s unique musical landscape. A heartfelt ode to her sister, born from a reflective London getaway, ‘Ninja’ celebrates their sisterhood, shared joys, and challenges. Yet, the accompanying visual is a mind-bending departure. Directed and edited by Tlya and filmed by Oliver Whitehouse, the video is a surreal dreamscape featuring heart-headed dancers, edgy choreography and a blood-drinking drummer (Lawi Anywar). Inspired by the song’s lyric “Even dreams of hell can be beautiful” from Joe Dispenza’s ‘Becoming Supernatural,’ the video presents a daring visual interpretation of the idea. It conveys the notion that life, in all its complexity, is a work of art and even in the face of adversity, can be seen as a masterpiece. This striking juxtaposition of the song’s intimate message and the video’s provocative imagery showcases Tlya’s artistic range, proving she’s as fearless a visionary as she is a musical virtuoso. “I wanted to keep the video simple inspired by the production and use a white studio,” says Tlya X An of the video “The driving forces of the song are the drum beat and the vocals which have a little choreography that me and my dancers have been perfecting over time mainly for my live shows. The original moves came to me from the beginning naturally before I even had dancers working with me and over time evolved to something more concrete which you can see in the video.”

Surely Shirley, which is made up of twins Anisha and Jenaya Okpalanze, have been serving up sugary melodies and doo-wops backed by swaying grooves for a while now, with a meticulous approach to both their music and their visual output. Directing or co-directing their videos, the pair have built out a Surely Shirley world which feels like it lives somewhere between a 60s dollhouse and a Wes Anderson film, with their music perfectly syncing with the pastels and performances we watch unfold. That’s no more evident than in the ‘Lavender Blues’ clip which dropped along with the EP. Complete with claps and shimmering guitar lines, Anisha and Jenaya’s vocals bounce between softly sung hooks and dreamy harmonies, as a groovy beat keeps everything glued together. [via Life Without Andy]

Northumbrian electro-folk musician and producer Frankie Archer has announced her new EP Pressure and Persuasion and released new single ‘Barbara Allen’ along with an entrancing accompanying video. New single and EP opener ‘Barbara Allen’ is one of the most re-told songs in the English language. Frankie’s spiralling interpretation – co-produced by Jim Moray – transcends expectations. “It’s about a mean, cruel-hearted woman (irony there),” Frankie explains, continuing: “It’s 350+ years old but is dripping with the same expectation that’s laid onto women today.” Melding otherworldly electronic production that snaps and darts between the age-old prose, Frankie utilises harshly chopped and distorted fiddle, pitch-shifted vocals, swinging drum samples and a rich assemblage of analogue and digital synths, with her distinctive approach to folk storytelling opening up a new way of understanding the fabled tale. Discussing the song and her re-imagination, Frankie said: “Barbara Allen is summoned to the deathbed of John, a man she doesn’t really know, so he can tell her he loves her, and expect her to love him back. In some versions of the song he tries to guilt-trip her into it “For I am sick, I’m very bad // One kiss from you will cure me.” Barbara rejects this random man and is branded ‘cruel-hearted’. In most versions she actually dies of sorrow the day after he does (often this is told as a warning to girls not to be so cruel).” “In my telling of the song I explain that Barbara isn’t cruel, and John is actually a bit unreasonable for expecting her to – out of nowhere – immediately love him and kiss his dying mouth (grim) and heal him. “It’s not for me to fix you, John”, she says. The song definitely turned into a band song rather than a folk tune, but the lilting 6/8 hi-hat in the verses keeps the trad feel. I also (sacrilege) added a kind of pop chorus. A lot of trad songs don’t have choruses but this one needed it to reinforce over and over again the message: ‘I don’t owe you anything / I didn’t ask for your attention / Lechery is not a compliment’ – comments that our society was not ready to hear a woman say 350 years ago and still apparently struggles with today.”

London-based, internationally assembled instrumental four-piece, Los Bitchos, release their eagerly anticipated second album, Talkie Talkie, via City Slang alongside a new video for the track, ‘Talkie Talkie, Charlie Charlie’. ‘Talkie Talkie, Charlie Charlie’ is a cinematic odyssey through 80s synth pop that would slot right into Black Mirror’s storied San Junipero episode. About the track, the band said: “’Talkie Talkie, Charlie Charlie’ feels like driving around Miami in the 80s, Grand Theft Auto style, or chatting to friends on old landlines or walkie talkies. It was the first song we recorded for the album and the first time working with our producer Oli Barton-Wood. We had such an incredible time in the studio and ran wild with some electronic drum sounds and some impromptu vocals. We love the blend of sparkly synths and smooth guitars along with bold, fat drums and bass lines. This song ended up inspiring the album title, Talkie Talkie, which has a cheeky ring to it. We could imagine it in neon lights outside our imaginary club. We had a great time with some retro phones and 90s bedroom setups, and dancing our lives away!” Watch the video, directed by Tom Mitchell, below.

With their Crown The Witch headline tour just around the corner now, Bambie Thug has unveiled a brand-new single to celebrate. Entitled ‘Hex So Heavy’, the killer track is described by the singer as “a witches’ siren, a warning to those who have crossed me. This song channels the energy of those experiences – deception, betrayal – and turns them into something transformative: strength, resilience. It’s a reminder to those who have wronged me, that life has a way of making sure we all face what we’ve set in motion. As Jojo Siwa says, ‘Karma’s a bitch…’ and it’s about to come around.” Speaking about the accompanying video, Bambie reveals: “I was thrilled to collaborate once again with Camp Productions, who worked with me on ‘Doomsday,’ for the ‘Hex So Heavy’ video. Kassandra Powell, one of my favourite directors, brought her incredible vision to this project, and our creative chemistry was undeniable once again. “The video tells the story of a shapeshifting witch conjuring spells of revenge from the underworld, and a cunning nymph above ground who has stolen a magical machete from the witch. The nymph, basking in her ill-gotten gains and the adoration of others, believes she’s escaped unscathed. But little does she know, the witch has been watching and waiting to strike back. Drawing inspiration from Suspiria and Lord Of The Rings, ‘Hex So Heavy’ is the first chapter in a saga about reclaiming authenticity stolen by another.” [via Kerrang!]

‘NASTY’ finds Kate Leah sticking to her viral breakup anthem formula in a song that’s all about swiping an ex-boyfriend back from his new girl. Described as “guaranteed to inspire you to drunk text your favourite ex,” ‘NASTY’ is paired with a music video that shows Kate’s bedroom antics as she plots to win back her ex. [via Rolling Stone Aus]

Global superstar singer/actress/versatile powerhouse Halle delivers a sublime new sound with latest single release ‘Because I Love You’. Co-penned by the British phenom Raye, ‘Because I Love You’ introduces a new side of Halle—mature, confident, and ten toes down for her paramour, while also playfully reminding him of her own worth— “you ain’t used to girls that can do it high fashion, you f* with a ten, amen.” As Halle reflects, “‘Because I Love You’ is a song for anyone who has ever been deeply in love. It’s an anthem that tells the story of all of the beautiful passion and euphoria you can feel with that person.” She then touches on the song’s accompanying visual. “The video dives deeper into how vulnerable it makes you feel. I hope people enjoy listening and thinking of the person they love the most.” The song was produced by Grammy nominated producer DemJointz who has worked with artists including Rihanna, Kanye West, Janet Jackson, and more. The song arrives with an official video produced by Lottie Abrahams and directed by Allie Avital. The cinematic official video, features stunning visuals, Halle is once again showcasing her acting chops, impressively playing multiple roles—both as the innocent and devoted girlfriend to her love interest and the sultry temptress threatening to pull them apart.

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Scene Queen has shared a spectacularly graphic new single, ‘Finger’. Taken from her upcoming debut album Hot Singles In Your Area – which is due out in ‘late 2024’ – the latest effort from our favourite bimbocore star is, according to Scene Queen herself, “about my queer awakening”. She continues: “I also wanted to flip the script on songs written to sexualise women in a way that was for a man’s pleasure. I wrote this song about two women experiencing things equally. So the song is vulgar like any sexual song but with a woman driving the narrative about her own body and taking control of her own pleasure with step-by-step instructions.” Even more brilliantly, Scene Queen says that the accompanying music video “features a dance made to be accessible to anyone both sitting or standing. I wanted to feature that in the video because, as someone who struggles with POTS, I was at one point completely unable to dance like I do standing in the video. So I wanted something to make everyone feel included because sexuality and pleasure is something everyone can and should be able to relate to.” [via Kerrang!]

Yaya Bey shares the latest offering from her forthcoming album Ten Fold with the new single ‘sir princess bad bitch’. Serving as one of the album’s centerpiece statements, the song and its accompanying video embody the complexities of Yaya’s identity as a genderqueer person, with her stating resolutely that she is “no other thing but the thing I am.”

Call Me Spinster has released ‘Burn the Boxes,’ the latest single from their debut album Potholes, out April 12 via Strolling Bones Records. With its jovial bluesy groove and a New Orleans-inspired trumpet to boot, the new song is an empowering anthem about breaking free from societal expectations and re-defining life on your own terms. ‘Burn the Boxes’ arrives with a playful music video, showing the group reusing pieces of cardboard as the colorful backdrop for this impactful metaphor about change. Call Me Spinster on the new single: “‘Burn the Boxes’ is all about tearing down and re-defining terms – of relationships, of our contract with societal institutions. It felt fitting to rip apart and reuse cardboard boxes to make something colorful, haphazard and beautiful – a reminder that change takes the creative, destructive and playful mind of a child.” On the music video: “Amelia’s husband Dan got the idea for this music video at 7 in the morning, groggily watching our six and two and a half-year-olds crafting away, hot-gluing cardboard dioramas and a dollhouse they are perpetually retro-fitting with found objects. By 10am we were deep in a cardboard frenzy, the assembly line led by six year-old Amos and our art director friend Chad. We sent our kid off to first grade the next morning exhausted and still covered in spray paint, but proud of his first (and likely not last) production design credit.” [via Broadway World]

Bambie Thug has shared the music video for their upcoming Irish Eurovision entry ‘Doomsday Blue’. The Cork-born artist leans into black magic in the new video, which follows the story of a witch who inadvertently conjures up a strange creature after casting a spell to make a new boyfriend. It’s a brilliantly vivid visual that is no doubt set to wind up a small but vocal minority in Ireland who weren’t too happy and dared to accuse Bambie of promoting Satanism after they triumphed earlier this year with the alt-rock track. “I think it was quite iconic to have created such uproar. I’m pissing off the right type of people – people who suppress love, compassion, understanding, people who are slaves to their programming, transphobes, the far-right and a few priests so it seems,” Bambie explains. [via Rolling Stone UK]

Ariana Grande has released her second single, ‘We Can’t Be Friends (Wait For Your Love)’, from her new album Eternal Sunshine — and the music video is heart-wrenching. The singer recently released her chart-topping album,and her latest music video to come from the album pays tribute to the movie which inspired it: Eternal Sunshine of the Spotless Mind. The video shows Grande taking on the character Peaches, who finds herself at the “Brighter Days Inc” doctor’s office to undergo a procedure to erase her painful memories of an ex. The video harks back to the film, which sees Jim Carrey’s Joel and Kate Winslet’s Clementine having similar treatment. Behind the short film is ‘Yes, And?’ director Christian Breslaur, while Dahmer actor Evan Peters appears alongside the singer as her ex. Her character moves through her memories of her ex, triggered by a box of his things. The video sees Peters’ character winning the singer’s character a bear at the arcade, recalling an argument they had in the middle of the night, making snow angels together, holding hands in bed, and sharing a very 16 Candles moment with a kiss over a birthday cake; all of which get deleted from her memory. Then, in perhaps the most heartbreaking scene of the music video, Peaches wakes up crying and clutching at her necklace. She bargains with the medical team to “keep this one please”, and they re-attribute Peters giving her the jewellery to a collar for her dog. In the end, her character seems relieved that her painful memories are no longer there hugging the doctors before her box of things is incinerated. Later, Grande’s character seems to have moved on with someone else, as did Peters’, when they walk past with no recollection of each other. Grande said in an Apple Music interview with Zane Lowe that the song is open to interpretation, but sums up “the album in a video”. “I think it can be applied to any kind of relationship, really, especially when you see the video. I think you’ll understand the importance of it,” she said. [via Pink News]

Allison Ponthier has shared new single ‘Skin’. Out now, it was seemingly prompted by a memorable concert, with Allison Ponthier left enraptured by her favourite artists. There’s a twist, however – she felt genuinely obsessed with the artist. Hailing from Dallas, Allison’s neat melodies and unerringly accurate pen have brought critical plaudits, with songs like ‘Cowboy’ going viral. ‘Skin’ takes her a step further – musically, it recalls everyone from boygenius to Japanese Breakfast, while also lacing in subtle hints of Americana. She comments: “I had this complicated feeling where I absolutely loved the show but also felt overwhelmed with jealousy — I wanted it to be me so badly. I left the venue with the lyrics to the verse in my head and assumed it would become a ballad, but when I went into the writing session I got the idea to sing ‘I wanna wear your skin’ at the chorus. I love how it sounds horror-movie-esque but describes a very real feeling I was afraid to express out loud.” The video was shot by Julian Buchan, taking stylistic cues from 90s thrillers. The clip co-stars Ponthier alongside Independent Spirit Award-nominated actor Suzanna Son. “I’m really attracted to writing songs that explore my weaknesses, and the challenge of ‘Skin’ was to create something that gave a voice to my inner saboteur,” says Ponthier. “I wanted to talk about feeling like you’re not good enough — which is something that every single person goes through — but to do it in a way that’s got some levity and feels upbeat and fun.” [via Clash]

Delilah Bon has just unveiled a triumphant new single called ‘Maverick’. The song’s release coincided with International Women’s Day (March 8), and as such Delilah explains that it’s about “self-worth and reclaiming your confidence, reminding yourself that you belong in the rooms you don’t always feel welcomed in. It’s about looking yourself in the mirror and believing in your power without needing the approval of others.” Excitingly, a press release also confirms that ‘Maverick’ is a “sneak peek into her upcoming second album, set to be released later this year” – so keep your eyes peeled for more on that… [via Kerrang!]

A rising star in the punk underground, Kate Clover recently announced her new record, The Apocalypse Dream, due out April 5. Following the release of ‘Damage Control’, which came alongside her LP announcement last month, now sees a video-only release of her raucous second single, ‘Like A Domino’. The video, directed and edited by Clover, spoofs a late-night talk show performance, and sees her and a cadre of backup dancers broadcast their new dance, “The Domino” to the world. Speaking on the origins of ‘Like A Domino’, Clover said, “I overheard a conversation where a woman told her friend she “played him like a domino”. Intrigued by this sentiment I wrote the chorus with the phrase. I like the innuendo it exudes. With this theme in mind, I enlisted my choreographer friend Sandi Denton of Rated Z dancers to create an original dance to accompany the song, titled “The Domino”. It’s a nod to the twist, the mashed potato and the Loco-motion. I wanted this song to be a garage rock banger that gets people up on their feet and prod some fun.”

Los Angeles indie-poppers the Marías made a name for themselves with their first two EPs, 2017’s Superclean Vol. I and 2018’s Superclean Vol. II, and they were already a big deal when they released their 2021 debut album Cinema. Since then, the Marías have truly blown up, collaborating with big stars like Bad Bunny and Young Miko. Early this year they collaborated with LA producer Eyedress on the singles ‘Separate Ways’ and ‘A Room Up In The Sky.’ Now, the Marías have announced their sophomore album Submarine, and they’ve dropped a pretty great lead single. Submarine comes out this spring, but we don’t have a tracklist or any details yet. What we have is ‘Run Your Mouth,’ a sleek and funky new track. Bandmates María Zardoya and Josh Conway wrote the song, and Conway produced it. It’s a warm and genuinely catchy fuck-you song. The glammed-out video, directed by regular collaborator, looks like a ’90s Gap commercial. Here’s what Zardoya says about the track: “This was one of the first songs Josh and I wrote on Submarine. I was conflict avoidant at the time, and whenever someone wanted to talk about something serious, I’d run and hide. I learned that was a protective mechanism and I didn’t have the capacity to open up. There’s no other song on the album like it, hope you dance to this one.” [via Stereogum]

Toronto-born, Los Angeles-based alternative sensation Abby Sage treats her audience to a captivating video for ‘Three Floors, Three Doors,’ the focus track from her debut album The Rot. The project released March 1st via Nettwerk. The second track of the album, ‘Three Floors, Three Doors’ juxtaposes a dreamy sonic profile with Sage’s uncomfortable realization that she can never return to the innocence she had as a child. The song tears down and rebuilds everything she thought she knew, admitting and welcoming the uncomfortable fact that change is inevitable. Like the rest of the album, ‘Three Floors, Three Doors’ was made in collaboration with London-based production team MyRiot aka Roy Kerr and Tim Bran (who worked on Sage’s 2022 The Florist EP). “Three Floors, Three Doors’, to me, is the realization that nothing can be erased. Everything I’ve been taught and have experienced will always live inside of me no matter how badly I want to pick and choose what I keep and what I let go,” Sage explains. “It describes a spiraling moment I had one evening where I felt like I was looking at my body from three floors above. From above, I could clearly map everything out and think rationally but when I returned to my body nothing had changed, I still felt everything I had before.” The accompanying music video serves as a captivating voyage of self-revelation, offering viewers a glimpse into Abby’s mind as she struggles with, and eventually embraces the concept of interconnectedness. With figures draped in both black and white, the video presents a compelling visual dichotomy – symbolizing the complexities of memory and perception, echoing Abby’s internal conflict as she navigates the contours of her own psyche. “‘Three Floors, Three Doors’ deals with acceptance of self and the vertigo of change in your journey,” Sage continues. “Masks have been this visual throughline in the project so far, and I think they worked especially well here to capture the feeling of struggle and the different masks you wear along your journey. I also wanted to demonstrate that struggle through the choreography. The scene with the two doors specifically, shows the push and pull of navigating through two sets of choices to find the right path forward.” [via Broadway World]

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