Perfume Genius was the musical guest on last night’s episode of The Tonight Show Starring Jimmy Fallon, delivering a striking rendition of his Glory single ‘It’s a Mirror’. Watch it happen below.
Glory, the follow-up to 2022’s Ugly Season, came out last month.
HAIM have released a new song, ‘Everybody’s Trying to Figure Me Out’. Following last month’s ‘Relationships’, the single was co-written with Rostam Batmanglij and Bon Iver’s Justin Vernon. There’s a striking vulnerability to the song, though it hews towards the same warmth Danielle Haim brought to her recent Bon Iver collab ‘If Only I Could Wait’. “You think you’re gonna die/ But you’re not gonna die,” it resolves. Check it out below.
On Instagram, Danielle Haim wrote: “This next song we will be releasing is my favorite song we’ve written in the last couple years 🙂 writing it has gotten me through some hard times, and we felt this might be of some use to get our vibes right for this summer! I started writing this after a panic attack I had the night I got home from tour. I was very confused because I was SO SO SO happy about our incredible tour, but something about being alone with myself scared the shit out of me. after a lot of reflecting I realized I’ve let a lot of people try and tell me how I should live my life, but I realized in making everyone else happy, I lost myself. I wrote this as a way to believe in myself again and quit being scared to do what I want. I hope this finds anyone who needs it.”
Miley Cyrus has shared ‘End of the World’, the latest preview of her upcoming album Something Beautiful. It follows the recently released ‘Prelude’ and the title track, and it comes paired with a music video directed by Cyrus, Jacob Bixenman, Brendan Walter. Cyrus executive produced the new record with Shawn Everett, who worked on ‘End of the World’ alongside Michael Pollack, Jonathan Rado, Maxx Morando, and Alvvays’ Molly Rankin and Alec O’Hanley, both of whom contributed lyrics and played on the song. Check it out below.
Something Beautiful is set to arrive on May 30 via Columbia.
Every week, we update our Best New Songs playlist with several tracks that catch our attention, then round up the best songs of each month in this segment. Here, in alphabetical order, are the best songs of March 2025.
Low’s Alan Sparhawk made the collaborative nature of his second solo LP clear by titling it With Trampled by Turtles. Sprawhwak may be the more recognizable name outside of Duluth’s creative community, but the alt-country group are also longtime pillars of the city’s music scene. It’s not hard to imagine the simplicity of ‘Stranger’, the album’s lead single, being refracted and slowed down to fit the distorted atmospherics of Low’s BJ Purton-produced records, but the song’s bluegrass arrangement pushes Sparhawk’s voice toward clear conviction. “You gotta put up with stranger people than you know now/ You gotta go through some dangerouser things than you thought you’d have to,” he sings, still bending grammatical rules to emphasize his point. More innocent souls might settle with might have to; Sparhawk knows life’s uncertainty is non-negotiable.
“A series of simple patterns slowly build themselves into another song,” Will Toledo sings on ‘Gethsemano’, casually revealing the Car Seat Headrest MO. The lead single from The Scholars stretches over eleven minutes, stitching together fragments of what could be separate tracks into an epic narrative introduction to the mysterious, spiritual world of the band’s latest rock opera. There’s a clear evolution between its parts, though: “I never missed a prayer and I always did the dishes” becomes, through some form of dark mysticism, “I can do whatever the fuck I want when I want to.” The song is seemingly about Rosa, a medical student at the fictional Parnassus University whose life is transformed after reviving a medically deceased patient, but you’re never quite who’s speaking, and a whole cast of characters eventually comes up: “the naked priest, the introvert, the millionaire, conspirator.” Through it all, the song brims with the possibilities of new love, even if it, too, ends up being reduced to rubble.
Chappell Roan’s long-teased country pop offering could have raised a few eyebrows, but whether it’s been stuck in your head since its Saturday Night Live debut or its official release in March, you know that fiddle is all camp, no cringe. Roan delivers a country song with all the panache and playfulness of knowing she might never put out another one without making this one sound like a one-off. You can get plenty of airplay out of song with a winking hook like “I get the job done,” but the single becomes an anthem via the gasp-inducing lines it sneaks in around the chorus: “Girl I don’t need no lifted truck/ Revving loud to pick you up/ Cause how I look is how I touch.” The rest of whatever project it ends up appearing on may be stylistically louder, but ‘The Giver’ sounds as effective as it claims to be.
Another month, another Destroyer song on this list. The entirety of Dan’s Boogie is now out, so there probably won’t be another one next month, but the album’s third single, ‘Caract Time’, might be its most revelatory. It sprawls over eight minutes, but the song might be the most gentle and inviting on the whole record, hardly veering off course in favour of unfiltered emotion – a rarity in Destroyer’s catalog. “I just sat down and started singing it over a little chord progression and melody,” Dan Bejar said in our interview. ‘Cataract Time’ is a portrait of exhaustion, of being on the road too long, the performative bubble bursting. It runs slower than the world requires of him, but its pace feels not just correct, but somehow illuminating.
When his cover of This Is Lorelei’s ‘Dancing in the Club’ was released, MJ Lenderman revealed that Box for Buddy, Box for Star was the album he listened to the most in 2024. By inviting him to take on the track for the record’s deluxe edition, Nate Amos expresses his own admiration by way of trust: someone like MJ Lenderman could only bring the song’s lonely desparation higher up the surface. Lenderman understands that fucking up your guitar means fucking up your heart, not just the other way round. He’ll slow down the song and draw out the lyrics to make their dissociation feel more personal than situational. And he will, of course, take pleasure in singing the words “A loser never wins/ And I’m a loser, always been,” lifted as they seem from his own Manning Fireworks. More than self-lacerating, though, the cover arrives as a source of comfort, too: being your own worst enemy doesn’t mean you can’t be seen, or find yourself a little less alone.
“It takes a lot to really disappear/ Always leave traces in the leaves,” Matt Berninger sings on ‘Bonnet of Pins’, the first words we get to hear from his next solo album. At first glance, it seems to dig further into the depressive patterns of the National’s last two albums, which came out of a period of creative and personal burnout for the singer. But on the lead single from Get Sunk, the narrator is not the one who appears as a ghost. “The closest thing she’s ever found to love/ Is the kind you can’t get rid of fast enough,” he says of the person suddenly reemerged, flesh and bones and all, the one finishing off his drink. It sends a jolt through his nervous system big enough to turn ‘Bonnet of Pins’ into one of Berninger’s most revitalizing solo songs to date. “Poor you,” the ghost shrugs. But you feel way more than pity.
Another song about misery loving company – only hazier and more haunting than anything else on this list. billy woods introduced his new album GOLLIWOG with a Kenny Segal collab that sticks to the formula the pair mastered on Maps while marking a kind of lyrical shift. The album supposedly finds the rapper revisiting a story about an evil golliwog (like the one on the album cover) he wrote when he was nine, but one hopes no part of ‘Misery’, a song that includes the line “she came to me already wet with sex,” can be traced back to his childhood. The jazz-inflected track is dreamlike in a way that seems to travel through time even though it only lasts two minutes, blurring the line between ecstasy and confusion, night and the morning after – so fast there’s barely a moment to question any of it.
Three years after their debut album, caroline returned in gloriously off-kilter fashion with ‘Total euphoria’. Driven by stabbing guitar, drums that never quite gel into place, and keyboards that hover radiantly but never quite in sync, you’re left wondering how the song could possibly amount to a sound befitting its title, but the experimental UK outfit naturally gets there. The instrumentation doesn’t cohere so much as endlessly revolve into something greater than the sum of its part, something blissfully communal, especially as Jasper Llewellyn and Magdalena McLean start singing in unison. The ambiguous betrayal at the song’s emotional core is never resolved, but you somehow get it, totally.
Unlike songs like ‘Dancing in the Club’ and ‘Cataract Time’, ‘This Is Real’ makes a dissociative trip sound like a blast – in the literal sense, at least. “Put the heater to the–” Lydia Slocum sings before the – nu metal? death metal? neither tag quite conveys the disruptive wall of distortion – guitars complete the sentence for her: max. The Pittsburgh four-piece’s first new music in two years showcases a band not so much harnessing the contrast between hypnotic contradiction and dynamic intensity as erasing the difference. They’re the kind to drill the point home, but not without a twist or two; they’ll let out an indecipherable scream, but not without a real confession. “I got my anger off my chest but/ We’ll never be the same again,” Slocum ultimately sings, hushed and human. It’s a good thing, you venture.
Vengeful and invigorating, ‘Salome’ uses the Biblical story of the titular character to take a stab at sexist men in the music industry. “I want your head on the platter,” Spencer Peppet sings, stretching out the I as much as she revels in the daydream. “It gets boring, the monotony of misogyny,” Peppet wrote in her Substack, but the song itself is anything but. Although sort of a lyrical anomaly on the band’s mostly diaristic new album Spring Grove, it punches up their sound – with the assistance of producer Julien Baker, who also provides additional guitar and harmonies – in electrifying ways they’ve long been reaching for. It’s about people that drive you mad, yes, but mostly the madness that drives you forward.
Technology functions as an essential connector for people while delivering support services, particularly to minority groups throughout the current digital era. For transgender people, finding resources that address their unique needs can be challenging. Transgender lives extend beyond dating, with support, health, safety, and community being equally important aspects of their existence. This is why we’ve compiled a list of vital apps for trans people that serve various purposes beyond just trans dating. These tools encompass platforms for LGBT friendship, resources for health, and spaces for meeting others within the transgender community.
From support groups that assist trans women to apps that promote understanding of gender identity, each resource plays a unique role in empowering transgender people. While dating apps may connect individuals romantically, this article will explore a broader spectrum, ensuring that trans women and men have access to comprehensive support and resources as they navigate their journeys. This article examines the key apps and platforms that serve transgender people.
Finding a supportive space is vital for many in the transgender community. Online transgender support groups and projects provide a safe space where people can share their experiences, seek advice, and make LGBT friends. These groups are often the best resources for those who are looking to connect with other trans people near them and find understanding and encouragement. In a truly discrimination-free environment, members can engage in meaningful conversations about issues related to trans dating, transitioning, and mental well-being. We will discuss multiple organizations that create this supportive environment.
The peer-support service Trans Lifeline exists to assist members of the transgender and LGBTQ community and comes from within their community itself. This service provides anonymous and confidential help to those who question their gender identity or are going through transitions, including legal and medical aspects. Unlike typical crisis hotlines, Trans Lifeline invites calls from anyone in need of a supportive ear, ensuring a welcoming environment to make LGBT friends and connect with like-minded people.
All operators are members of the trans community, which creates an environment based on special understanding among members. To protect callers, the policy requires consent before law enforcement can participate in any calls. Active phone support combines with a comprehensive web-based resource section that includes materials for trans rights documentation procedures and medical options along with tips for transitioning.
The service provides Spanish language accessibility together with a website emergency exit option. Trans Lifeline operates as an essential resource that maintains a truly inclusive community.
As a welcoming space, The Tribe creates connections to build community spirit for people in the LGBT community. Offering a robust network of support for all LGBTQ+ people, including mental health resources not confined to gender or sexual orientation, it emphasizes building connections that matter. With various forums and groups available, members can engage with their peers on issues ranging from personal challenges to shared experiences, facilitating discussions on topics such as the advantages of dating a trans woman.
Through its therapist directory, The Tribe assists users in locating ongoing mental health support that matches their requirements, yet it does not provide emergency services nor specific audio/video assistance. The gender-inclusive, community-based model allows all members to obtain essential tools for their growth and connects individuals in a valuable way for personal development.
The Trevor Project is a vital resource dedicated to supporting trans youth and LGBTQ+ people through its comprehensive mental health resources and suicide prevention services. This organization creates a welcoming community where young people can find guidance and understanding tailored to their unique experiences. With a focus on providing crisis intervention and support, The Trevor Project offers confidential chat and hotline services, ensuring that trans folks have immediate access to help when they need it most. Additionally, they provide educational resources to promote awareness and foster acceptance among peers, helping to build a safe environment for friends and allies alike.
Transbucket serves as an exclusive online platform dedicated to trans people who access a rich collection of information about medical transition. It serves as a unique space for active users to share their experiences with various gender-affirming procedures, surgeries, and treatments. The platform lets users read firsthand accounts and look at comparison photos while learning from people who went through equivalent gender transitions.
Transbucket maintains a large list of medical professionals who receive favorable ratings while honoring users’ privacy needs and welcoming every gender identity from binary to non-binary. While it doesn’t offer formal support groups or hotline assistance, it serves as a valuable resource for queer women and others seeking knowledge and community within gender groups, helping them make informed decisions about their journeys.
In the quest for well-being and support, online tools and platforms offer essential resources for every trans person working towards their specific gender affirmation goals. These platforms foster an environment of gender diversity, providing access to health services, community connections, and valuable information tailored to individual needs. By leveraging these tools, people can navigate their journeys more effectively, ensuring they have the support they need to thrive in a society that recognizes and celebrates their identities.
Tools like imi are essential in today’s climate, particularly as they address the growing mental health crisis affecting LGBTQ+ youth. Launched in early 2020, this platform provides free, research-backed support tailored to meet the unique needs of young people exploring their gender expressions. Created with input from hundreds of LGBTQ+ teens—including BIPoC, trans, non-binary, and gender non-conforming individuals—imi fosters a safe digital space for sharing stories and experiences.
Collaborating with organizations like CenterLink, Hopelab, and It Gets Better, imi aims to ensure an LGBTQ community safe for all. Guided by research, their mission is clear: uplift and affirm these young voices, helping them navigate challenges like being trans on social media and connecting with other members of the community. Ultimately, imi provides a much-needed resource that allows youth to finally focus on their well-being and empowerment.
The digital healthcare platform FOLX serves the LGBTQIA+ community with a purpose to create better healthcare experiences for people who have experienced system-based discrimination. FOLX launched its operations in December 2020 through the vision of founder A.G. Breitenstein who focuses on providing inclusive healthcare services such as gender-affirming care together with primary care and mental health support.
This platform encourages meaningful connections through its community features, allowing users to engage in chatting, participate in support groups, and join events tailored to their needs. Whether a trans girl seeking advice or anyone looking to build a network, FOLX fosters a thriving environment for health and wellness. The platform provides all necessary tools for members through their crisis support service and library resources to help members achieve success. For a $25/month membership, FOLX provides accessible quality care for its members through multiple insurance options.
Plume Health is a virtual clinic dedicated to gender-affirming care for the trans and gender non-conforming community. Co-founded in 2019 by trans physician Dr. Jerrica Kirkley and ally Dr. Matthew Wetschler, Plume emphasizes inclusive medical services. With over 60% of its team identifying as trans, the clinic offers individualized hormone therapy, including estrogen and testosterone prescriptions tailored to patients’ gender goals.
In addition to hormone therapy, Plume provides mental health support, transition assistance, and a range of sexual health services. By fostering a supportive community and uplifting trans opinion leaders, Plume Health is transforming healthcare access for thousands of people.
REFUGE Restrooms is an application dedicated to providing safe restroom access for transgender, intersex, and gender nonconforming individuals. The app enables users to easily locate restrooms nearby, contribute new listings, and share feedback through ratings and reviews.
Social and safety apps are vital for supporting the well-being of LGBTQ+ people. These social apps enhance the app’s user experience by providing tailored resources for mental and physical health. Offering everything from health tracking to emergency support, these platforms empower users to find safe spaces and connect with supportive networks, enabling them to live authentically and confidently.
Voda is an app designed to provide accessible, inclusive, and competent mental health support specifically for the LGBTQIA+ community. Built by and for the community, Voda combines AI-driven tools with evidence-based therapeutic techniques. Users can access personalized mental health tools, self-guided therapy programs, and LGBTQIA+-voiced meditations covering a wide range of topics, from coming out to managing stress and building self-worth.
Available for Android and iOS, Voda prioritizes user privacy, ensuring that all personal info is encrypted and securely stored, allowing members to retain ownership of users’ personal data. While basic resources, like the Trans+ Library, are free, those seeking enhanced features can subscribe to Voda Plus for £8 a month or £55 annually, with discounts available for LGBTQIA+ charities.
GeoSure is an app designed to provide safety information for travelers and includes an “LGBTQ+ safety rating” for over 30,000 neighborhoods worldwide. The app employs AI and crowd-sourced data to evaluate and score areas on a scale from one to 100, with one representing the safest conditions.
The LGBTQ+ safety rating assesses the likelihood of harm or discrimination against LGBTQ individuals, helping users navigate their surroundings. Many have found this review helpful, especially when planning trips.
InReach is the world’s first open-source, verified, LGBTQ+-inclusive app, designed to meet the diverse and intersecting needs of the LGBTQ+ community. Whether you are an LGBTQ+ asylum seeker, a queer immigrant, or a non-binary user, InReach offers comprehensive resources in areas such as medical care, legal assistance, housing, and mental health support.
Accessible to resource seekers, legal professionals, and allies alike, InReach guarantees safety and confidentiality, ensuring all users find trustworthy referrals. With features like personalized searches, user reviews, and the ability to suggest new resources, InReach aims to revolutionize support networks, helping every member of the LGBTQ+ community thrive.
The RUBIES chatbot is an AI-powered tool created to provide free support for trans people and their families. Designed with care and understanding, this chatbot offers guidance on a variety of topics pertinent to the LGBTQ+ journey, with a strong emphasis on gender identity and expression.
Whether you have questions about hormone therapy, hormone blockers, or surgical options, the chatbot delivers information in a simple, approachable manner. Additionally, it highlights supportive clothing options specifically for trans women. Beyond individual support, the RUBIES chatbot also fosters communication and understanding among families, encouraging parents to engage with and support their children on their personal journeys.
The BOBU app, developed by Across Rainbows, is a transformative tool aimed at enhancing street safety for LGBTQ+ people. Launched in 2021, it was created in response to rising concerns about public safety as hate crimes have surged. BOBU empowers users to navigate a network of vetted “safe spaces” across the UK, ensuring that everyone can feel secure and supported while expressing their authentic selves.
Each participating venue has undergone inclusive training called “Bear Necessities,” equipping staff to foster a welcoming atmosphere. Users can rate venues based on their experiences, providing feedback that helps maintain safety standards. With BOBU, you can confidently explore social spaces that prioritize respect and inclusivity, making every outing a positive experience.
Dandarah is a vital app designed to enhance the safety of trans women in Brazil, named in honor of Dandara don Santos, a trans woman who tragically lost her life to violence in 2017. The app utilizes user-generated maps to pinpoint locations where trans women commonly gather, allowing users to communicate real-time updates about safety concerns and incidents of violence in their areas.
Equipped with a panic button feature, Dandarah enables users to quickly alert five emergency contacts and local services if they feel threatened. Initially inspired by findings from the Divas study, which revealed the extensive danger faced by trans women in Brazil, Dandarah has been a beacon of hope, downloaded over 5,000 times since its launch. The project continues to evolve, focusing on empowering trans women to identify risks, access support, and ultimately foster a safer community.
Dating apps have become essential tools for those looking to connect within the LGBTQ+ community, especially for people who wish to date trans partners. Platforms like Grindr and dedicated transgender dating apps provide spaces for users to find meaningful relationships, whether romantic or platonic. These apps often incorporate social media elements, making it easier to share experiences, connect over common interests, and foster a sense of community.
Fiorry stands out among the best transgender dating apps, specifically designed to create a secure and inclusive online dating experience for trans people. The app offers unique features tailored to meet the needs of the transgender community, including profile options that allow users to express their gender identity authentically. Fiorry prioritizes safety by implementing robust measures for blocking disruptive users, ensuring that all interactions remain respectful and supportive.
Moreover, Fiorry employs comprehensive verification processes to build a community of genuine users, making it one of the safest dating apps available. With its focused approach on fostering meaningful connections, Fiorry provides a welcoming space where trans individuals can find love and companionship while prioritizing their comfort and security.
Grindr is a well-known dating app for trans people and the broader LGBTQ+ community, dedicated to fostering connections across various identities within the dating world. Renowned for its user-friendly interface and geolocation features, Grindr allows users to find potential matches nearby, enabling a dynamic and engaging experience. The app promotes inclusivity by welcoming all sexual orientations and gender identities, making it a popular choice among users seeking to connect with trans dating app features. With its focus on community, Grindr serves as more than just a dating platform; it is a space to share experiences and build connections in a supportive environment.
OkCupid is a prominent dating platform celebrated for its inclusive options that cater to a diverse range of gender identities and sexual orientations. Users can select from numerous gender identities and sexual preferences, allowing for a more personalized dating experience. This flexibility empowers users to express themselves authentically and connect with others who share similar values and interests.
In conclusion, the landscape of apps for trans community has evolved significantly to cater to the unique needs of the LGBTQ+ community. From safety-focused platforms to inclusive environments, these apps provide valuable resources and connections for those navigating love and companionship. Emphasizing support, community, and authenticity, these tools are essential, ensuring that everyone can find their place in the world.
As international companies explore events in Mexico, they come across a vibrant mix of cities and venues that cater to diverse business needs. Mexico is rapidly becoming a global events hub, thanks to its rich cultural heritage and modern facilities.
The country itself is increasingly recognized as a prime destination for business events, conferences and meetings. With its strategic location, it provides easy access for international travellers. Furthermore, the country’s modern infrastructure and rich cultural backdrop make it an attractive choice for hosting various gatherings, including corporate conferences and trade shows.
In this article, we will explore key cities and venues in Mexico that international agencies should consider when organizing business events. Additionally, we will discuss the advantages of choosing Mexico for your next event and how partnering with professional event services in Mexico can help you execute a seamless and successful event.
Location is crucial for hosting successful business events, and Mexico’s strategic position offers easy access to both North and South America. Major airports in cities such as Mexico City, Monterrey and Cancun provide seamless connectivity, making it convenient for attendees to get to from anywhere around the world.
Mexico’s rich cultural heritage enhances attendee experience with its vibrant history, cuisine and traditions. This unforgettable backdrop blends business with pleasure, making Mexico appealing for both professional gatherings and leisure activities, ensuring a well-rounded experience for participants.
Another key aspect is the financial one. Economic viability makes Mexico even more appealing for agencies. With competitive pricing for venues and services, it meets various budget needs while maintaining high standards. Its modern infrastructure, including top hotels and advanced convention centres, ensures events run smoothly, enabling agencies to focus on their objectives.
When it comes to hosting impactful business events, Mexico boasts a wealth of cities that offer exceptional venues and services. From bustling metropolises to beachside paradises, each city provides unique advantages that cater to various industries and event types. Below, we’ve put together a list of the top cities international agencies should consider when planning their next business event in Mexico.
As its capital, Mexico City stands at the forefront of the country’s business activities. Renowned for its modern infrastructure and impressive convention centres, it’s an ideal location for hosting large conferences, exhibitions and meetings.
In addition to exceptional venues, Mexico City features a vibrant cultural scene rich in history and artistic expression. Attendees can explore world-class museums, galleries and theatres while enjoying diverse dining options, from traditional Mexican cuisine to innovative international dishes.
The lively entertainment scene, including music and dance performances, further enhances the experience. This blend of culture, gastronomy and entertainment ensures productive business engagements and lasting memories in Mexico City.
Monterrey, located in northern Mexico, is known as the industrial capital of the country and is ideal for business events centred around technology, manufacturing and innovation. With numerous international corporations and a growing hospitality sector, it is an essential location for connecting with Mexico’s business community.
Monterrey’s focus on business innovation provides an ideal setting for international agencies to connect with local industries. Its strong industrial sector and technology ecosystem foster collaboration. Hosting events there enables agencies to engage with diverse professionals and corporations, enhancing partnerships and networking opportunities that drive innovation.
Famous for its stunning Caribbean beaches and luxurious resorts, Cancún has made a name for itself as a top choice for corporate retreats and incentive trips. In addition to being a premium leisure destination, it also offers excellent venues for business events.
Cancún’s blend of natural beauty and upscale amenities makes it an appealing choice for relaxed, scenic events that foster connection and creativity. Its stunning beaches and luxurious resorts create the perfect backdrop for networking and inspiring discussions, ensuring a memorable experience for all attendees.
Known for its vibrant culture and rapidly growing technology sector, Guadalajara is a prime destination for international agencies interested in tech-related business events and cultural exchanges.
Guadalajara combines culture, technology and modern infrastructure, making it ideal for business and leisure. Its vibrant artistic heritage is shown in museums and galleries, while a growing tech sector fosters innovation and attracts diverse professionals. This fusion creates an inviting atmosphere for business events and relaxation, positioning it as a prime destination.
Selecting the right venue for your business event is crucial to its success, and several factors should be considered to ensure a seamless experience. First, assess the capacity of the venue to ensure it can comfortably accommodate your attendees. Accessibility is also important, and venues that are easily reachable via good transportation links should be considered as viable options.
Also, make sure to check for essential amenities such as Wi-Fi, catering services and audiovisual equipment to enhance the experience for your guests. Additionally, seek venues that offer flexibility in their room setups and configurations, allowing you to tailor the space to meet your specific event needs.
Maximizing Your Event’s Impact: Strategies for Engaging Experiences in Mexico
As international agencies turn their attention to events in Mexico, new opportunities for meaningful engagement emerge. Cities such as Mexico City, Cancún, Guadalajara and Monterrey provide unique venues and cultural richness to enhance business gatherings. Leveraging local event services helps ensure that events are both successful and memorable.
To truly maximize the potential of your events in Mexico, consider the following:
Event services play a crucial role in the success of gatherings, ensuring that every aspect runs smoothly and meets the expectations of attendees during events in Mexico. These services provide essential support across various areas, facilitating a seamless experience for organizers and guests alike.
This is a key function of event services, focusing on coordinating transportation and accommodations for participants. This encompasses arranging flights, ground transportation and hotel bookings to alleviate planning stress for organizers and ensure attendees arrive comfortably and punctually.
This is vital for effective presentations and event engagement. Event services supply the latest technology (such as sound systems, projectors and lighting) ensuring that technical aspects are professionally managed, allowing organizers to concentrate on content delivery.
This aspect is invaluable during events, providing immediate assistance and troubleshooting to address any issues in real-time. This team manages schedules, oversees catering and assists with attendee questions, ensuring everything runs smoothly and enhancing the overall experience.
Utilizing experienced event services in Mexico can lighten the workload and enhance the effectiveness of business events. Their local expertise improves efficiency and overall quality, ensuring a memorable experience. By leveraging these services, organizations can focus on their core objectives while ensuring a successful event.
Partnering with a reliable event services provider is essential for a successful event in Mexico. A trusted agency manages logistics and local vendors, streamlining planning to save time and reduce stress while offering valuable resources like transportation, venue management, catering, and entertainment.
A professional event management team can customize your event to meet the specific preferences of your attendees, creating a memorable experience that resonates with participants. Ultimately, investing in quality event services in Mexico leads to impactful gatherings that leave a lasting impression on both organizers and attendees.
Embracing the unique aspects of events in Mexico positions international businesses for success. With diverse cities and venues (from large conferences in Mexico City to intimate retreats in Cancún) the country ensures the creation of lasting impressions and valuable connections. Mexico is ready to make your next gathering impactful.
For more information on planning and executing successful business events in Mexico, consider professional event services in Mexico offered by experts in the field.
Seven unreleased albums recorded by Bruce Springsteen between 1983 and 2018 will be collected on Massive Tracks II: The Lost Albums, a new box set announced today. That’s 83 never-before-heard Springsteen songs. The new song ‘Rain in the River’ is taken from Perfect World, the last of the albums included in the 9xLP/7xCD set. Check it out below, along with Springsteen’s trailer for the box set and its full tracklist.
A highlight of the project is LA Garage Sessions ’83, a lo-fi recording that serves as a bridge between Nebraska and Born in the USA. Also included are Faithless, the soundtrack for a movie that was never made, a country album called Somewhere North of Nashville, the orchestral noir experiment Twilight Hours. Inyo is described as a set of “richly woven border tales,” while Perfect World is “the one thing on this that wasn’t initially conceived as an album,” according to Springsteen.
“The Lost Albums were full records, some of them even to the point of being mixed and not released,” Springsteen says in the trailer. “I’ve played this music to myself and often close friends for years now… The ability to record at home whenever I wanted allowed me to go into a wide variety of different musical directions.”
Tracks II: The Lost Albums Tracklist:
LA Garage Sessions ’83:
1. Follow That Dream
2. Don’t Back Down On Our Love
3. Little Girl Like You
4. Johnny Bye Bye
5. Sugarland
6. Seven Tears
7. Fugitive’s Dream
8. Black Mountain Ballad
9. Jim Deer
10. County Fair
11. My Hometown
12. One Love
13. Don’t Back Down
14. Richfield Whistle
15. The Klansman
16. Unsatisfied Heart
17. Shut Out The Light
18. Fugitive’s Dream (Ballad)
Streets of Philadelphia Sessions
1. Blind Spot
2. Maybe I Don’t Know You
3. Something In The Well
4. Waiting On The End Of The World
5. The Little Things
6. We Fell Down
7. One Beautiful Morning
8. Between Heaven and Earth
9. Secret Garden
10. The Farewell Party
Faithless
1. The Desert (Instrumental)
2. Where You Goin’, Where You From
3. Faithless
4. All God’s Children
5. A Prayer By The River (Instrumental)
6. God Sent You
7. Goin’ To California
8. The Western Sea (Instrumental)
9. My Master’s Hand
10. Let Me Ride
11. My Master’s Hand (Theme)
Somewhere North of Nashville
1. Repo Man
2. Tiger Rose
3. Poor Side of Town
4. Delivery Man
5. Under A Big Sky
6. Detail Man
7. Silver Mountain
8. Janey Don’t You Lose Heart
9. You’re Gonna Miss Me When I’m Gone
10. Stand On It
11. Blue Highway
12. Somewhere North of Nashville
Inyo
1. Inyo
2. Indian Town
3. Adelita
4. The Aztec Dance
5. The Lost Charro
6. Our Lady of Monroe
7. El Jardinero (Upon the Death of Ramona)
8. One False Move
9. Ciudad Juarez
10. When I Build My Beautiful House
Twilight Hours
1. Sunday Love
2. Late in the Evening
3. Two of Us
4. Lonely Town
5. September Kisses
6. Twilight Hours
7. I’ll Stand By You
8. High Sierra
9. Sunliner
10. Another You
11. Dinner at Eight
12. Follow The Sun
Perfect World
1. I’m Not Sleeping
2. Idiot’s Delight
3. Another Thin Line
4. The Great Depression
5. Blind Man
6. Rain In The River
7. If I Could Only Be Your Lover
8. Cutting Knife
9. You Lifted Me Up
10. Perfect World
Lily Seabird is a Vermont singer-songwriter whose first instrument was the saxophone, which she picked up at age 9 before learning guitar a few years later. Her family moved a lot when she was a kid, and after a brief stint in New York, she eventually settled in Vermont and found refuge in Burlington’s music scene. Her new record, Trash Mountain, is named after a pink house sitting on a decommissioned landfill site at the back of Old North End, which she’s called home for several years now. But Seabird has also spent much of that time on the road, touring her own music and as a bassist with Greg Freeman, Lutalo, and Liz Cooper. Freeman, along with Robber Robber’s Nina Cates and drummer Zack James, accompany her on just a few songs on the new album, which is intentionally sparser than previous efforts like 2024’s Alas, (which was accompanied by an acoustic EP in its Lame-O Records reissue) and 2021’s Beside Myself. Rough-hewn yet warmly realized, the album centers on Seabird’s captivating voice as it lingers on a moment, trembles in grief, or sighs around a melody for just that bit more relief. “Where the wind blows everything I try to remember and forget/ On the edge of town/ Where when I’m home I rest my head” is how she describes Trash Mountain, recording to bask in its comfort a little longer.
We caught up with Lily Seabird for the latest edition of our Artist Spotlight series to talk about her songwriting journey, the making of Trash Mountain, how Leonard Cohen led her to Burlington, and more.
While your previous records were written over the course of a year, the songs on Trash Mountain came out almost entirely out of a three-month period. But there’s a stretch from ‘How Far Away’ to ‘Albany’ that sounds to me like it could even have been written in one night. I wonder if there were instances where the writing overlapped, or songs flowed into each other, or you traded lyrics around in that way.
For sure. A lot of the writing happened in this one short period. I think ‘Trash Mountain (1pm)’ and ‘The Fight’ I wrote on the same day. My writing process is like bursts of energy; it just comes out as one flowing thing. I’ll be playing guitar, and then the song will come out, and I’ll try to write it down really quickly. It’s usually all at once – lyrics and music. Sometimes I’ve had a melody first, but the words are always all at once. I wrote ‘Trash Mountain (1pm)’ while walking from the coffee shop near my house back to where I live and recorded it into my phone all in one burst. Then I was just playing guitar for a while – I had the chords for ‘The Fight’, I just started playing those and, in one burst, wrote all those lyrics. Then I actually wrote another song that didn’t make it onto the record because I just wanted to save it for some reason. But yeah, when I’m writing, I’ll get in this headspace – I’ll wake up, play guitar, and do that all day long. I write a lot of stuff at once, so they were all written pretty close together.
In the springtime in Vermont – a lot of folks, like Vermonters, say we have five seasons here: winter, spring, summer, fall, but between winter and spring is mud season. All the snow is melting, it’s really icy because it keeps melting and freezing again, and it’s super slushy. That’s what we’re entering right now, and I wrote all these songs during mud season, and the album comes out during mud season too, which is pretty cool. I’m just realizing that talking to you right now.
Do you feel like some aspect of the songs would sound different if they weren’t written in this in-between kind of season?
Both ‘Trash Mountain’ songs and ‘The Fight’ really speak to this time period for me. In winter, I spend a lot of time inside, and those were some of the first walks outside, really taking in what’s going on around me. So, Trash Mountain is what we call the house I’ve lived in for a couple of years, but artists and young people have lived here for like 10 years. Behind our house is a big, beautiful field, a lot of preserved land, but the field is actually an old landfill. That’s why they call it Trash Mountain. I was just singing out thinking about that – a place that could have so much beauty to me, and so much sense of community, but then it has that name. I’d be constantly thinking about the climate crisis and pollution and late-stage capitalism, just the state of the world, and I sing a lot about – this time of year, all the garbage people have thrown on the side of the road comes out of the snow and is just there. So there’s lots of trash around, and it just seems like a palpable metaphor to me.
I wanted to zoom out a little and ask about home more broadly. Do you mind talking about the places you’ve called home and how your understanding of home has changed as you’ve landed where you are now?
Yeah. I’m not from Vermont originally. I was born in San Francisco, and we moved a lot when I was a kid – we lived in New Haven, Connecticut, and Philadelphia. My parents split up; my dad stayed in California, and my mom moved to Pennsylvania and brought me there when I was 10. We lived in Philly when I was younger, but we moved to a more rural zone. I feel like I’ve always – not struggled with, but a sense of belonging, feeling like I was from a place. I was a very emotional and lonely child. I stopped living with my mom around 16, was on my own since then, and moved to New York City when I was 18. I’ve definitely never felt a super strong sense of home or where I should be until I moved to Burlington when I was 20. And I’ve been here the last six years.
There’s a very strong community in Vermont, and Burlington specifically, that’s grounded me and helped me become an adult, like a full person. [laughs] Burlington is the first time in my life where I’ve felt like I’ve found a place where I belong. Not to say I think I’m going to live here the rest of my life, but it’s definitely a really special place to me. This is the longest I’ve ever lived in a place.
Aside from that community, was there a place or moment where music entered your life in a way that made you realize it was something you’d be pursuing?
Yeah, absolutely. I’ve been writing songs since I was 11. I played saxophone in school – I really loved it, still do. I was a good singer, but I’d refuse to sing in public until I was 19. I would sing sometimes, but it was more talk-singy stuff, Lou Reed-inspired, just to have a place for my poetry. I started writing songs as a preteen and always found comfort in that. Songwriting is a meditative process to me. I love making music, but I’m constantly writing stuff down – I have many journals from the last 10 years full of random scribblings: diary entries, lists, categorizing things, poems, just what’s going on around me or in the world. Since I was around 11, I’ve definitely found a sense of home in that creativity. And I’ve never really not been doing that. It’s been a constant, even as everything else has changed.
Maybe because of this focus on lyrics and journaling, do you feel a palpable separation between life on the road and life at home in how you view yourself as an artist? Is there a growing disparity, or more harmony now between those two things?
I think there’s harmony to it, for sure. I actually feel more grounded on the road, in the constant change. I had a very turbulent childhood, so I feel like the tumultuous vibe of tour – you’re constantly going from place to place, it’s not a stable environment – I don’t know if I thrive in this instability, but it feels more natural than being at home and in one place for a long time. I feel like when I am in one place and at home for so long, I start to spiral, and I don’t feel as grounded when I’m in a steady routine of being just in my house. I go to my job, I do my little tasks – I feel like that’s when oftentimes the darkness creeps in for me, and I definitely feel way more intensely at home than on the road. But there’s definitely a balance to it, because maybe the instability of, like, sleeping at somebody’s couch and playing a show and driving hours and traveling hundreds of miles – that is so tiresome for the body, even though my mind feels good. And being home and being able to take care of myself – or try to – is probably a healthy balance.
I think that at first, when we all first started touring, and I’ve played in a lot of different bands over the years – tour is so new and exciting. You’re on a road trip, it feels like, to play music with your friends. It can easily turn into partying really hard all the time at the beginning. So I feel like I would be this artist self, writing, making music at home, and then hit the road and be a complete mess. It’s not really how it goes for me anymore, but definitely learning how to moderate drinking and substances is important for any artist on the road, because it can easily get out of hand. But now I write on the road sometimes. I feel like I had something right here – I was on tour with my friend’s band, and I didn’t have my notebook when I was on this tour, but I was feeling so inspired – oh, here it is, I put it in my pocket [unfolds a napkin] – these are the lyrics for a new song of mine that I wrote on a napkin in the car. When I was talking about insane partying, that was multiple years ago, so I do write more on the road, and I just try to write about my feelings in the moment.
I already have my next record written and ready to go. I wrote it between the fall and now, and I’ve been on the road this whole time, so there’s a lot of songs that I actually wrote in other people’s houses. The road is definitely way more reflected in this next record. I think once you get into this rhythm, it becomes a more blended thing.
How do you feel like the musicians who play on this record shaped the songs in ways you maybe didn’t anticipate?
On my last record, Nina [Cates] wasn’t playing bass with me at the time. But Zack [James] and Greg [Freeman] have played with me for a really long time. But this batch of songs – ‘Arrow’, ‘Harmonoia’, ‘It was like you were coming to wake us back up’ – those were the older songs on the record, and we had been playing those live for a year or so before. ‘It was like you were coming to wake us back up’ is definitely the one major collaborative song on there. Nina wrote that bass line, and that bass line is like my favorite part on the whole album. And then ‘Arrow’ was pretty straightforward. That was the first song we tracked for the album. We came in after playing a show in New York City the night before, drove up to Vermont that morning, got there, plugged our guitars in. We were all super hungover, and we just tracked it live. We have all toured together a bunch in the past, and they’ve been the steadiest group of people that played my songs with me, and that is a supergroup of frontpeople. I don’t know if the future will have us touring as much together as a group like that, because it’s literally impossible.
Those were the only two songs where we were just full-band, more collaborative. ‘Harmonoia’, I taught the song to them a couple of weeks before, but that was more constructed. This was the first time I made a record where I made demos in my room and tried to play all the parts before I got to record. And then the rest of those songs were definitely more thought-out; I had really thought about what I wanted people to play. The arrangements for all the piano parts, I wrote those and taught them to my friend Sam [Atallah]. Sam is playing in my band now, since there’s so much piano on the record. But that was funny, because I was like, “It’s like this, but it’s taking me 10 times to show you how to do it because I can’t do it.” I’m just really bad at piano.
I definitely felt like I was producing this more than I’ve ever produced anything else. I used to think that the recording had to sound like it does live, even though that’s not what most music I listen to is like. And then something clicked. Maybe it was after touring so much that I was like, “Wait, I just want this to be a recording thing, and then I’ll figure out how to do it live.”
The way you pronounced it, I noticed there is an extra O in ‘Harmonoia’.
So, it’s a made-up word, the song title. It’s from this book I found on the ground a couple years ago. I think it’s called The Dictionary of Obscure Sorrows. It’s like a dictionary of fake words, words blended together to describe very specific feelings that we all experience as humans, that you can’t put a word to. I did not know what to call that song, and I was like, “Oh, I should pick something from this book.” It’s harmony and paranoia bashed together – when things are going too well, that paranoid feeling that something’s gonna go wrong.
On ‘Arrow’, you sing, “There exists this fine line on either side of pain and beauty.” I’m taking it out of context, but do you find yourself treading that line when you’re writing a song? Or is there a tendency to turn pain into beauty?
Yeah, I think that’s always been something that’s really inspired me. That’s kind of a reference to Leonard Cohen, because I’m a really big Leonard Cohen fan. I’ve consumed everything he’s written to a crazy degree – to a point where I kind of wound up in Burlington because I went to Montreal by myself after Leonard Cohen died, to go to the Leonard Cohen exhibit at the MAC. They had all his journals and stuff from his life open to the public to look at. I think I had just turned 19. I went out, met a bunch of Quebecois people, spent a ton of money dancing and drinking – and didn’t have that much money in the first place, didn’t have enough money to get back to New York. So I got a bus ticket to Burlington, where my friend lived, and I wound up staying here for like three days. I met a bunch of people and was like, “Oh, maybe I should move here.” The Leonard Cohen obsession got me to Burlington, and then I moved here to live briefly, and then stayed here. So my obsession with Leonard Cohen has led me to other parts of my life, which – I just think about that sometimes, how if I hadn’t been so obsessed with him, maybe I wouldn’t have gotten here.
One of my favorite places I’ve been to is Leonard Cohen’s house in Hydra, Greece, where he lived for several years.
I didn’t even know he lived in Greece. Now I really want to go to Greece.
You sing about seeing a dream twice, on ‘Harmonoia’ and ‘How Far Away’, and they almost sound like could be from the same dream. I wonder if you sometimes feel like there’s a fine line between dreaming and songwriting, or this waking reality and the dreamlike flow state you were talking about.
Yeah, I think it’s all way more meshed together than society wants us to think. Creativity, dreaming, being awake, sleeping, living, dying… I’m a very spiritual person, so I feel like there’s a self, or something, that’s flowing between these different planes of existence. I’m constantly thinking about that. And I’ve always had really vivid dreams, so I feel very connected to the dream world.
Fate is something that creeps through a lot of the songs on the record – whether some things are meant to happen, or, as you put it in the last song, “written in the book.” In many ways you’ve moved on from this collection, so I’m curious where you land on this idea – call it predestination – now.
I don’t know if I have a clear view on what I believe around that, but it’s something I contemplate, so it appears in the songs. I don’t really know if things are set in stone by some higher power, or if everything’s just randomly happening, and then we talk about whether it was “meant to be” after the fact, and that’s how we make sense of things, digest them, and move forward. But I feel like it’d be kind of crazy if I had a set of beliefs at 26 years old. I’m open to seeing what happens.
This interview has been edited and condensed for clarity and length.
Lily Seabird’s Trash Mountain is out April 4 via Lame-O Records.
There are two types of people in this world: those who prioritize their comfy walking shoes and those who realize, maybe too late, that they’ve worn the wrong pair. If you’ve ever limped home after a day of sightseeing or cursed your cute-but-impractical sneakers, you know the struggle. This is where these come into play: the most comfortable walking shoes for women. Shoes that don’t just get you from point A to B but make you feel good doing it.
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New Balance has always had some of the most comfortable shoes. In the past few years, with sneakers styles being more sought after, they are becoming a favorite in almost every way. Need more arch support? Try the New Balance 574s, which are like walking on clouds but still look amazing. A little retro, a little modern, these are the kind of sneakers that look just as good with jeans as they do with skirts.
For those who want something a little more performance-driven, the Hoka Clifton will keep you moving, feeling great, and looking good. Hokas have that chunky aesthetic but are trendy enough to wear with actual outfits. These shoes focus on cushioning and energy return, perfect for long days on your feet.
If you prefer a more understated look, consider the Allbirds Tree Runners. They are sustainably made, incredibly lightweight, and stylish in that “I don’t even try, but I look amazing” kind of way. They’re breathable, flexible, and ideal if you want a shoe that feels barely there.
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If your looking for some cool shoes for your next European trip, then a classic white sneaker like the Adidas Stan Smith is your best friend. They’re timeless, match everything, and offer enough comfort to wear all day.
Summer is coming, and with it come our trips filled with never-ending walks and sightseeing. The right shoes can make or break the adventure, so choose wisely and enjoy your path.
After previewing it on their website earlier this week, WU LYF have released their first song in 14 years, ‘A New Life Is Coming’. Produced by Tom McClung and the band at Low Four Studios, the track is sweeping and majestic. Check it out below.
In a statement, the band said:
Something comes from nothing. Wu Lyf was always better left unspoken, experienced rather than discussed. Words killed it. You just had to feel it.
Twelve years after the fire burnt out, life had pulled us apart. We all had walked our separate paths trying to escape the shadow cast by the brief spectacle of our youth. Then something broke. Or healed.
We set up camp in the loft of a friend’s bookshop behind unfamiliar instruments, familiar emotions, and we began to play, tentative at first but with open hearts and minds, seeking new forms unchained from what had been before. Old friends with new scars, trying not to aggravate the wounds of yesterday.
We are all surprised by the big music that still plays itself through us, an unexpected gift after the longest exile, a gleaming fragment of then, magnified by who we are now. Raw and ecstatic, the fire transfigured.
What it will become we do not know.
You do not dig up the seed to see if it grows. You wait. You trust. You know the tree by its fruits. Our hands know what our minds forgot. This is something that was always there, waiting for us to remember. A new life is coming.
WU LYF’s debut album, Go Tell Fire to the Mountain, came out in 2011.
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