The first semester I studied abroad was full of lessons learned and many moments stumbling through a language I thought I had a grasp on. I was wide-eyed and clinging to my best friend as if she had the secret to navigating the other side of the world. 

Five months later, I boarded another plane with that same best friend, this time bound for a different country with a different language and culture, still unsure if I was chasing a sense of spontaneity or running from routine. I did not expect how different the two experiences would be, and how they would shape me.

My first semester abroad unraveled so much of what I thought I knew about myself. As someone who had never left the United States, everything felt astounding and overwhelming in the best way. But surprisingly, it was choosing to go abroad again with the knowledge of how challenging it can be that resulted in the development of a deeper sense of self than I had before.

I spent the fall semester of my junior year at SLU Madrid. It was the only program I had really heard of. A program where you have no doubts about credits or scholarships transferring, and you get a lot of support through the visa process. 

It made sense that I chose the most popular program offered in the study abroad office. There is comfort in the familiar, following a necessary logic to do what everyone else is doing. 

It felt like the right move and, in many ways, it was. Everyone knows someone who went there. Tapas, world-famous museums and weekend getaways, it checked every box.

I had some extremely meaningful experiences in Madrid. I lived with warm, welcoming host parents who greeted me with home-cooked, authentic meals and patient smiles as I staggered through our conversations in Spanish. My two roommates, who quickly felt like siblings, filled the apartment with laughter, late-night conversations and a much-needed sense of belonging. I learned how to be okay with getting lost, overcome culture shock and budget with no income in a major European city. 

Something was enlightening about it, but in all honesty, Madrid never quite felt like mine. As much as I wanted to, I struggled to feel settled or at home the whole semester. Looking back, I realize how hard it was to admit that I was not having the time of my life in a place where I thought I should.

I wrestled with a lot of dissonance that semester, falling into a place of comparisons of other people’s experiences, while simultaneously feeling ungrateful and guilty about not thriving in a beautiful place. The contrast became a constant undertone of that semester. 

I was homesick in a way that is hard to articulate. Not for a place in particular, but for a feeling of attachment I did not have access to in Spain. There was an unspoken set of expectations about how I was supposed to feel, and I could not live up to them.

I knew I still wanted to complete an entire year abroad, so I decided to stay in Europe. The second semester abroad, I chose Webster University in Athens, Greece: a program that was not talked about as much. It was small, with only 10 students in the entire program, all from different schools. Only one of them wasn’t a stranger to me on the first day. 

That ended up being the best thing about it. There were no expectations of who I had to be. I learned how to lean on strangers, a process that gave me social courage I did not know I needed. Our program director was heavily involved, like a second mom to us. She took us to new cities all over Greece: weekend trips to Olympia, Nafplio, Delphi and more. 

Day hikes through mountains and ruins, beach towns I could not pronounce but now dream of constantly. It was less of a checklist and more of a lived-in and personal adventure.

Outside the group excursions, my newfound friends and I took independent trips on a whim, €15 flights across the continent, and €10 ferries to the Greek islands. Forming friendships with locals, learning phrases from servers and bartenders, and wandering through neighborhoods with no plans. 

I lived in a city-center apartment minutes from campus, on the historic streets where democracy was born. I felt rooted in a way I had not before. 

I stopped caring about what I was “supposed” to see or do and asked myself what I wanted to experience. I became comfortable in stillness, savoring the smallest moments, and I started to see discomfort as a sign of growth rather than failure.

Studying abroad in the second semester helped me rebuild with intention and clarity. I needed Madrid. I needed the bright city lights and the comfort of the popular path. Being there that first semester pushed me past the barrier where the unfamiliar felt unbearable and going home felt like the only option, and gave me the stability to spend another five months out of my comfort zone.

I needed Athens in other ways that will stick with me for the rest of my life. I learned to build memories that were not refined or packaged, but personal. It was a program where I stopped performing and started being. It helped me understand that meaningful growth does not come from the pre-written experience, but rather the experience that you make entirely yours.

If you are contemplating separate programs, I know how tempting the popular one can be. The one that looks polished and convenient. But if you get a flicker of curiosity about the other program, the smaller one, chase it. You will find something there that no photo can explain, and live in stories only you can tell.

On any given weekend in any major city, while venues fill with ticketed crowds and extensive sound systems, a different kind of music scene takes shape. In living rooms, backyards and basements, audiences gather shoulder-to-shoulder to experience local music close up. 

There’s no green room, no blinding lights and no stage. Only a floor and a shared understanding that a house show is more than just a concert in someone’s home. 

It’s a communal event, a DIY ecosystem, and for many artists, a first big break.

Part of what makes a house show so appealing lies in what they lack. No corporate sponsors, strict age restrictions, or inflated ticket prices. It’s a workaround to the complicated and often inaccessible process of booking a venue, no guarantees required, no endless competition for securing available dates.

They are simply open to anyone who hears about them.

It’s an alternative to bars and clubs that starts in alternative or unlikely spaces. It’s not defined by the sound system or the capacity of the crowd, but the informal and rather tight-knit atmosphere. The layouts are improvised; the “stage” is just a rug or a cleared-out living room. Extension cords are tucked into back corners or windowsills, the lighting is just string lights and the green room is someone’s bedroom littered with guitar cases for a few hours.

The audience isn’t there for a spectacle or curated vibes, they’re there for the music, the energy and the sense of being a part of something fleeting and real. 

It’s a cross-section of community culture; students, other artists, family members of the band and neighbors all under one roof for a single, undivided experience. People who don’t normally share the same space find themselves shoulder to shoulder, singing along.

Despite their casual appearance, they require a respectable amount of coordination. Finding a space with cooperative roommates, a room big enough to fit a full band, an audience and flexible neighbors who won’t file a noise complaint. It launches a domino effect of booking the bands, arranging the gear, clearing the furniture, promoting the show and figuring out who’s watching the door. 

Promotion becomes a patchwork of word of mouth, flyers and friends who will vouch for each other. Equipment becomes a joint effort, a working PA system, mic stands, extension cords and amps are all essential.

A defining trait of a house show is that it relies on mutual respect. Without the official infrastructure of bouncers or security guards, everyone becomes responsible for keeping the space safe and welcoming. This is executed by checking in with others, being considerate and pitching in when needed. 

Even the clean-up is an act of collective care. The next morning, someone moves the couch, another handles the sound and someone else scrubs the floor. It’s a continuous group effort to show up and make it happen.

House shows are temporary in nature. A house can only host so many before the lease is up, someone graduates or a neighbor wants it shut down. 

However, the culture is self-sustaining because it’s built on intention and ambition. DIY shows offer something refreshingly simple: a group of people who just want to enjoy music together. 

Beyond the music, house shows become a testing ground for emerging artists and incubators for local scenes. Bands find their early audiences, and organizers learn by doing. It’s a framework that feeds into the future of music, one that, without it, many larger acts wouldn’t have gotten their start. 

As cities change and live music landscapes shift, the house show scene remains steadfast and stubbornly analog. It’s not overly glamorous. It’s often hot, loud, and a little chaotic. But it asks little and gives a lot in its messiness, because of the freedom it offers, the connection it builds and the creativity it makes space for. 

House show culture provides a much-needed reminder that music doesn’t need a stage to matter. Keep it alive. If you’ve never been to a house show, find one. Ask around, find a flyer and show up early. Talk to everyone you can and support the artists. There’s a place for you in your local scene, you just have to care enough to find it.

The 2025 Lollapalooza lineup has been released, and it’s no surprise that in the wake of an indie revival, the over-20-year-old festival is filled with up-and-coming artists paving their way in the music scene. With this year’s headliners mostly hailing from the mainstream scene, the rest of the lineup is a mixed bag of the best indie acts to see at the four-day festival.

Royal Otis, an Australian duo composed of Royel Madden and Otis Pavlovic, are riding high after their viral cover of Sophie Ellis-Baxter’s “Murder On The Dancefloor” in early 2024. Their effervescent energy is channeled into the anthems of their latest album, “PRATTS & PAINS,” which blends surf rock sensibilities with Tame Impala-esque psychedelics. The album’s third track, “Foam,” is a prime example, setting the stage for a day of trekking across Grant Park in the summer heat. With their irresistible tunes and captivating live presence, Royal Otis is sure to be one of the standout performers at this year’s Lollapalooza.

Still riding the high acclaim and praise of his debut album, “Two Star & The Dream Police,” Mk.gee is taking the stage on his first major round of festival tour dates. His ever-evolving sound is marked by a textured vocal and gritty production that unveils the DIY nature of his work. When performed live, the tracks further showcase the uncompromising quality that has made him a must-see act on the Lollapalooza schedule. With lush instrumentation and emotive delivery, his performance is sure to cement his status as one of indie music’s most compelling performers.

Gigi Perez took the internet by storm with the release of “Sailor Song,” a song that holds strong emotional depth and resonates with themes of repetition and the sense of a deep love. “Sailor Song” fits right along with the mellow composition of “Please Be Rude” and the most recent release of “Chemistry,” added to the setlist, making for an enchanting blend of indie with deep roots in folk. Perez’s work carries an atmospheric guitar sound that will be perfectly amplified through the Lollapalooza speaker systems.

Although Dominic Fike has had a complicated history with Lollapalooza, joining the lineup three times in the past but never actually taking the stage, this might be the year he will finally take the stage. He’ll get the chance to perform tracks from his latest summer projects, “Sunburn” and “14 Minutes.” Songs like “Pasture Child” and “coast2coast,” which have somewhat become staple summer songs, promise to be perfect additions to the festival schedule.

Del Water Gap blends the charm of indie pop with the relatability of hyper-specific lyrics, creating a sound inspired by “romantic encounters and dimly lit rooms.” Since the release of his breakout “Ode to Conversations Stuck In Your Throat,” the artist has captured widespread attention with his impudent vulnerability. His production-heavy performances land somewhere between indie rock and pop, making him an act worth seeing at this year’s festival.

This year’s Lollapalooza lineup promises a diverse and captivating showcase of indie talent. Whether you’re a longtime festival-goer or a newcomer to the scene, these acts are sure to provide the perfect soundtrack to your summer in Chicago.

The 2025 Lollapalooza lineup has been released, and it’s no surprise that in the wake of an indie revival, the over-20-year-old festival is filled with up-and-coming artists paving their way in the music scene. With this year’s headliners mostly hailing from the mainstream scene, the rest of the lineup is a mixed bag of the best indie acts to see at the four-day festival.

Royal Otis, an Australian duo composed of Royel Madden and Otis Pavlovic, are riding high after their viral cover of Sophie Ellis-Baxter’s “Murder On The Dancefloor” in early 2024. Their effervescent energy is channeled into the anthems of their latest album, “PRATTS & PAINS,” which blends surf rock sensibilities with Tame Impala-esque psychedelics. The album’s third track, “Foam,” is a prime example, setting the stage for a day of trekking across Grant Park in the summer heat. With their irresistible tunes and captivating live presence, Royal Otis is sure to be one of the standout performers at this year’s Lollapalooza.

Still riding the high acclaim and praise of his debut album, “Two Star & The Dream Police,” Mk.gee is taking the stage on his first major round of festival tour dates. His ever-evolving sound is marked by a textured vocal and gritty production that unveils the DIY nature of his work. When performed live, the tracks further showcase the uncompromising quality that has made him a must-see act on the Lollapalooza schedule. With lush instrumentation and emotive delivery, his performance is sure to cement his status as one of indie music’s most compelling performers.

Gigi Perez took the internet by storm with the release of “Sailor Song,” a song that holds strong emotional depth and resonates with themes of repetition and the sense of a deep love. “Sailor Song” fits right along with the mellow composition of “Please Be Rude” and the most recent release of “Chemistry,” added to the setlist, making for an enchanting blend of indie with deep roots in folk. Perez’s work carries an atmospheric guitar sound that will be perfectly amplified through the Lollapalooza speaker systems.

Although Dominic Fike has had a complicated history with Lollapalooza, joining the lineup three times in the past but never actually taking the stage, this might be the year he will finally take the stage. He’ll get the chance to perform tracks from his latest summer projects, “Sunburn” and “14 Minutes.” Songs like “Pasture Child” and “coast2coast,” which have somewhat become staple summer songs, promise to be perfect additions to the festival schedule.

Del Water Gap blends the charm of indie pop with the relatability of hyper-specific lyrics, creating a sound inspired by “romantic encounters and dimly lit rooms.” Since the release of his breakout “Ode to Conversations Stuck In Your Throat,” the artist has captured widespread attention with his impudent vulnerability. His production-heavy performances land somewhere between indie rock and pop, making him an act worth seeing at this year’s festival.

This year’s Lollapalooza lineup promises a diverse and captivating showcase of indie talent. Whether you’re a longtime festival-goer or a newcomer to the scene, these acts are sure to provide the perfect soundtrack to your summer in Chicago.

The 2025 Lollapalooza lineup has been released, and it’s no surprise that in the wake of an indie revival, the over-20-year-old festival is filled with up-and-coming artists paving their way in the music scene. With this year’s headliners mostly hailing from the mainstream scene, the rest of the lineup is a mixed bag of the best indie acts to see at the four-day festival.

Royal Otis, an Australian duo composed of Royel Madden and Otis Pavlovic, are riding high after their viral cover of Sophie Ellis-Baxter’s “Murder On The Dancefloor” in early 2024. Their effervescent energy is channeled into the anthems of their latest album, “PRATTS & PAINS,” which blends surf rock sensibilities with Tame Impala-esque psychedelics. The album’s third track, “Foam,” is a prime example, setting the stage for a day of trekking across Grant Park in the summer heat. With their irresistible tunes and captivating live presence, Royal Otis is sure to be one of the standout performers at this year’s Lollapalooza.

Still riding the high acclaim and praise of his debut album, “Two Star & The Dream Police,” Mk.gee is taking the stage on his first major round of festival tour dates. His ever-evolving sound is marked by a textured vocal and gritty production that unveils the DIY nature of his work. When performed live, the tracks further showcase the uncompromising quality that has made him a must-see act on the Lollapalooza schedule. With lush instrumentation and emotive delivery, his performance is sure to cement his status as one of indie music’s most compelling performers.

Gigi Perez took the internet by storm with the release of “Sailor Song,” a song that holds strong emotional depth and resonates with themes of repetition and the sense of a deep love. “Sailor Song” fits right along with the mellow composition of “Please Be Rude” and the most recent release of “Chemistry,” added to the setlist, making for an enchanting blend of indie with deep roots in folk. Perez’s work carries an atmospheric guitar sound that will be perfectly amplified through the Lollapalooza speaker systems.

Although Dominic Fike has had a complicated history with Lollapalooza, joining the lineup three times in the past but never actually taking the stage, this might be the year he will finally take the stage. He’ll get the chance to perform tracks from his latest summer projects, “Sunburn” and “14 Minutes.” Songs like “Pasture Child” and “coast2coast,” which have somewhat become staple summer songs, promise to be perfect additions to the festival schedule.

Del Water Gap blends the charm of indie pop with the relatability of hyper-specific lyrics, creating a sound inspired by “romantic encounters and dimly lit rooms.” Since the release of his breakout “Ode to Conversations Stuck In Your Throat,” the artist has captured widespread attention with his impudent vulnerability. His production-heavy performances land somewhere between indie rock and pop, making him an act worth seeing at this year’s festival.

This year’s Lollapalooza lineup promises a diverse and captivating showcase of indie talent. Whether you’re a longtime festival-goer or a newcomer to the scene, these acts are sure to provide the perfect soundtrack to your summer in Chicago.

The 2025 Lollapalooza lineup has been released, and it’s no surprise that in the wake of an indie revival, the over-20-year-old festival is filled with up-and-coming artists paving their way in the music scene. With this year’s headliners mostly hailing from the mainstream scene, the rest of the lineup is a mixed bag of the best indie acts to see at the four-day festival.

Royal Otis, an Australian duo composed of Royel Madden and Otis Pavlovic, are riding high after their viral cover of Sophie Ellis-Baxter’s “Murder On The Dancefloor” in early 2024. Their effervescent energy is channeled into the anthems of their latest album, “PRATTS & PAINS,” which blends surf rock sensibilities with Tame Impala-esque psychedelics. The album’s third track, “Foam,” is a prime example, setting the stage for a day of trekking across Grant Park in the summer heat. With their irresistible tunes and captivating live presence, Royal Otis is sure to be one of the standout performers at this year’s Lollapalooza.

Still riding the high acclaim and praise of his debut album, “Two Star & The Dream Police,” Mk.gee is taking the stage on his first major round of festival tour dates. His ever-evolving sound is marked by a textured vocal and gritty production that unveils the DIY nature of his work. When performed live, the tracks further showcase the uncompromising quality that has made him a must-see act on the Lollapalooza schedule. With lush instrumentation and emotive delivery, his performance is sure to cement his status as one of indie music’s most compelling performers.

Gigi Perez took the internet by storm with the release of “Sailor Song,” a song that holds strong emotional depth and resonates with themes of repetition and the sense of a deep love. “Sailor Song” fits right along with the mellow composition of “Please Be Rude” and the most recent release of “Chemistry,” added to the setlist, making for an enchanting blend of indie with deep roots in folk. Perez’s work carries an atmospheric guitar sound that will be perfectly amplified through the Lollapalooza speaker systems.

Although Dominic Fike has had a complicated history with Lollapalooza, joining the lineup three times in the past but never actually taking the stage, this might be the year he will finally take the stage. He’ll get the chance to perform tracks from his latest summer projects, “Sunburn” and “14 Minutes.” Songs like “Pasture Child” and “coast2coast,” which have somewhat become staple summer songs, promise to be perfect additions to the festival schedule.

Del Water Gap blends the charm of indie pop with the relatability of hyper-specific lyrics, creating a sound inspired by “romantic encounters and dimly lit rooms.” Since the release of his breakout “Ode to Conversations Stuck In Your Throat,” the artist has captured widespread attention with his impudent vulnerability. His production-heavy performances land somewhere between indie rock and pop, making him an act worth seeing at this year’s festival.

This year’s Lollapalooza lineup promises a diverse and captivating showcase of indie talent. Whether you’re a longtime festival-goer or a newcomer to the scene, these acts are sure to provide the perfect soundtrack to your summer in Chicago.

The 2025 Lollapalooza lineup has been released, and it’s no surprise that in the wake of an indie revival, the over-20-year-old festival is filled with up-and-coming artists paving their way in the music scene. With this year’s headliners mostly hailing from the mainstream scene, the rest of the lineup is a mixed bag of the best indie acts to see at the four-day festival.

Royal Otis, an Australian duo composed of Royel Madden and Otis Pavlovic, are riding high after their viral cover of Sophie Ellis-Baxter’s “Murder On The Dancefloor” in early 2024. Their effervescent energy is channeled into the anthems of their latest album, “PRATTS & PAINS,” which blends surf rock sensibilities with Tame Impala-esque psychedelics. The album’s third track, “Foam,” is a prime example, setting the stage for a day of trekking across Grant Park in the summer heat. With their irresistible tunes and captivating live presence, Royal Otis is sure to be one of the standout performers at this year’s Lollapalooza.

Still riding the high acclaim and praise of his debut album, “Two Star & The Dream Police,” Mk.gee is taking the stage on his first major round of festival tour dates. His ever-evolving sound is marked by a textured vocal and gritty production that unveils the DIY nature of his work. When performed live, the tracks further showcase the uncompromising quality that has made him a must-see act on the Lollapalooza schedule. With lush instrumentation and emotive delivery, his performance is sure to cement his status as one of indie music’s most compelling performers.

Gigi Perez took the internet by storm with the release of “Sailor Song,” a song that holds strong emotional depth and resonates with themes of repetition and the sense of a deep love. “Sailor Song” fits right along with the mellow composition of “Please Be Rude” and the most recent release of “Chemistry,” added to the setlist, making for an enchanting blend of indie with deep roots in folk. Perez’s work carries an atmospheric guitar sound that will be perfectly amplified through the Lollapalooza speaker systems.

Although Dominic Fike has had a complicated history with Lollapalooza, joining the lineup three times in the past but never actually taking the stage, this might be the year he will finally take the stage. He’ll get the chance to perform tracks from his latest summer projects, “Sunburn” and “14 Minutes.” Songs like “Pasture Child” and “coast2coast,” which have somewhat become staple summer songs, promise to be perfect additions to the festival schedule.

Del Water Gap blends the charm of indie pop with the relatability of hyper-specific lyrics, creating a sound inspired by “romantic encounters and dimly lit rooms.” Since the release of his breakout “Ode to Conversations Stuck In Your Throat,” the artist has captured widespread attention with his impudent vulnerability. His production-heavy performances land somewhere between indie rock and pop, making him an act worth seeing at this year’s festival.

This year’s Lollapalooza lineup promises a diverse and captivating showcase of indie talent. Whether you’re a longtime festival-goer or a newcomer to the scene, these acts are sure to provide the perfect soundtrack to your summer in Chicago.

Official nominations for the 67th annual Grammy Awards are here and with the ceremony on the horizon, the award show pits both new and experienced artists head to head for the prestigious honor. This year’s nominations mark special occasions in many categories, with new additions of Best African Music Performance and Best Pop Dance Recording, among others. Newcomers like Chappell Roan, Benson Boone and Doechii add a competitive edge to the popular award show. Here are some key contenders with good standing to win in the most popular categories.

Record of the Year:

Not to be confused with Album of the Year, Record of the Year is awarded to entire teams behind songs as a whole, including the artists, producers, mixers and recording engineers. While the nominations are full of some of the year’s most popular songs, “The Rise and Fall of the Midwest Princess” by Chappell Roan is likely gunning for the winner. The album has a very high production quality, which has boosted Roan’s monthly listeners exceedingly over the last 10 months alone. Songs like “HOT TO GO!” and “Pink Pony Club” make the lineup of her live performances and draw massive crowds based on the sheer range of Roan’s voice alone, but add the masterminds behind the booth, and together they created a reckoning force.

Song of the Year:

When put up against popular hits like Sabrina Carpenter’s “Please Please Please,” Shaboozey’s “A Bar Song (Tipsy)” and Kendrick Lamar’s “Not Like Us” there is some stiff competition when it comes to Song of the Year. Made as the fifth and most recent diss track in Lamar’s standing feud with Canadian rapper Drake, it was met with critical acclaim from critics, who felt like it was Lamar’s victory lap. Igniting conversations about race and cultural appropriation, the song, as well as the rest of the disses like “Meet the Grahams” are all considered 2024 anthems, making it a solid contender for Song of The Year.

Best New Artist:

Sabrina Carpenter may be a shoo-in. She did not have the typical career trajectory to a Best New Artist nomination, as a former Disney actress and having already released five prior studio albums. Still, Carpenter has been a talent in the making since an early age, and is finally getting high recognition for her album “Short n’ Sweet.” With radio hits “Espresso,” “Please Please Please” and “Taste” along with the accompanying music videos and a captivating stage presence, Carpenter showed her well-rounded artistry in both musical and visual capabilities that pushed her far among the ranks of the category. 

Album of the Year:

Charlie XCX’s “brat” was a landmark achievement in her nearly decade-long career, cultivating her own cultural phenomenon: “Brat Summer,” and solidifying her prominence in the pop and club music scene. The album’s viral success on TikTok showed her ability to connect with a new generation of listeners, with a bold and unapologetic style. But beyond the online hype, the albums showcased Charli XCX’s versatility as an artist, with a diverse range of sounds in songs like “360” and “I think about it all the time,” showing her more pulsing club ragers but also a more introspective approach within her lyricism. “Brat” stood out as a bold statement that pushed the boundaries of modern pop music and displayed her as a true visionary in the industry.

Though these are mere predictions, all of these artists have a strong foundation in their music journeys. While the true winners are left in the hands of the Recording Academy voters and the results will be as surprising as they normally are, one thing remains true: the Grammy’s are a must-watch event for any music fan looking for the best new music.

Charli XCX’s “Brat” album brought the music landscape to its knees when it was released in June, making 2024 the year of “brat summer.”

She’s furthered the brat universe with a reinvented version of the project titled, ‘‘Brat and it’s completely different but also still brat.” 

The remix album finds each song with a new take on its already renowned older sibling. The 16-track collection features an elusive 18 artists including Bladee, A.G. Cook and Caroline Polachek, making space for each artist, big or small, to add to the song in their fashion. Landing somewhere between familiar and foreign, the compiled mixes are unrecognizable, yet still retain the dizzying shock value that listeners loved the first time around. 

A notable feature among the remixes is pop singer Ariana Grande’s take on “Sympathy is a knife.” Grande creates an enticing blend of harmonies, layering on more emotions of the already deep cut and revealing lyrics. “It’s a knife when you know they’re counting on your mistakes / It’s a knife when you’re so pretty they think you must be fake / It’s a knife when they dissect your body on the front page / It’s a knife when they won’t believe you, why should you explain?” The duo acknowledges the pitfalls of fame, comparing slices of their previous misfortunes to metaphorical cuts and stabs.

Charli XCX recruits an unlikely trio of alt-rock icons on the project, The 1975, Julian Casablancas of The Strokes and Bon Iver. “Mean girls featuring julian casablancas” featuring Casablancas is a slightly stretched-out version of the original, giving him the ability to free his mind and speak directly to the so-called “mean girls.”

 “I might say something stupid,” one of the original album’s already downcasted ballads, is even further broken down with the help of The 1975 and Jon Hopkins. It’s extremely similar to the classic ‘75 sound, joining the likes of their slower projects: ”I Like It When You Sleep, For You Are Beautiful Yet So Unaware” and “A Brief Inquiry Into Online Relationships,” with major points of ambient negative space and the overlapping of textures and spoken word.

Bon Iver’s addition to, “I think about it all the time,” takes a soulful spin on the reflective song, leaving space for Charli XCX to add extremely personal touches to the lyrics. She’s battling the natural progression of time, balancing the weight of focusing on the fast-paced empire of a career she’s built over a decade, or taking the dedicated time to start a family. “And I’m exactly the same, but I’m older now / And I got even more stress on my body / So we had a conversation on the way home, ‘Should I stop my birth control? / ‘Cause my career still feels small in the existential scheme of it all,’” she ponders, in between the layered echoes of Bon Iver.

Navigating fame and falling in and out of the mainstream are both ideas that Charli XCX explored on her own in “brat,” but she had the chance to expand on her thoughts in “Guess featuring billie eilish.” Eilish and Charli XCX take a cheeky jab at “stan culture” and the obsessive nature that the public can have towards A-list celebrities and their personal romantic relationships.

“Talk talk featuring troye sivan” brings in the romantic anthemic rhythms that came with Sivan’s “Something To Give Each Other.” The lyrics revolve around a fast-forming relationship between two people who just met. Upbeat and filled to the brim with electronic beats, the track features the giddy excitement of unprecedented connections, even those that come with language barriers and catching long-haul flights. 

Charli XCX and Sivan headed out on their “Sweat Tour,” combining sonic forces to create a cohesive stage presence. Indie artist Lorde and bubblegum pop singer Addison Rae joined the duo for their Sept. 23 concert at Madison Square Garden to perform their respective features, “Girl, so confusing featuring lorde” and “Von dutch a. g. cook remix featuring addison rae.”

Ultimately, the remix album reaffirms Charli XCX’s stance as a trailblazer, unafraid to confront the complexities of her own experiences, and those of others who experience her same ebb-and-flow level of popularity. In the act of deconstructing her work, she filters in the many perspectives of her peers, diving headfirst into unpacking the emotional tolls of maintaining a public persona.

British-Irish boy band, One Direction, was a phenomenon: Dubbed “the internet’s first boy band,” the group found profound, and retrospectively unexpected, success in the early 2010s. Composed of five members, Niall Horan, Louis Tomlinson, Harry Styles, Liam Payne and Zayn Malik, the iconic pop band had a short-lived five-year career before taking an indefinite hiatus in 2015.

The band members got their start in an extremely unassuming way, not only for the time, but also in a way that has yet to be recreated on the same large scale. They were brought together on the London-based talent show “X-Factor” as individual contestants who failed to progress past the bootcamp stage of the show.

Individually, each member was light-years away from being a pop star prodigy. Average-at-best singers, dancers and overall performers, their stage presence lacked the confidence and fine-tuning that a solo act needs to command the industry. Yet, producers saw an undeniable glimpse of talent and pushed the five of them forward as a group. Although an “X-factor” victory surpassed them, the stardom of what was next for them was incomparable to any award they could have been granted.

From that humble start, One Direction stumbled into immediate success. Their first-ever release “What Makes You Beautiful” became an overnight success. With the release of their debut album “Up All Night,” they went on to become the first British band to top American charts, spending 13 weeks in the top 10 of the Billboard Hot 100.

Nearly instantaneously, One Direction became an anomaly in the industry. In their mere five-year run, they shattered the records for ticket sales, becoming the highest-grossing concert tour of 2014 and making them one of the best-selling boy bands of all time. 

They broke the mold of their predecessors and rewrote the boy band playbook by avoiding overdone pre-choreographed moves, never wearing uniform clothes and being heavily tattooed. Witty and amusing, they pulled juvenile pranks mid-performance, sang from the comfort of a couch on stage and wore funny costumes when they wanted to. 

Their personas were brought to life through the music, and the members often co-wrote their songs, but the group’s dynamic was further shown through their frequent interactions with fans. They would show up in chat rooms, communicating on Twitter (known today as X), Tumblr and Instagram to have long and short conversations with their unwavering supporters.

More than a band, One Direction was a group. A group of artists, but even further, they were friends. Often publicized on social media, their friendship and humor made them real. It was because of this that they didn’t just have fans. They had devoted followers who felt let it into the group’s inner circle, privy to their inside jokes and shenanigans.

It was this genuine camaraderie that helped make them so beloved. In a Rolling Stone interview, their frequent collaborator Savan Kotecha said “They did that by being themselves. That was a unique thing about these boys: When the cameras turned on, they didn’t change who they were.” 

In an industry often characterized by brutalizing egos and artificial images, One Direction’s embrace of themselves and each other was refreshing. It played a big part in their remarkable rise to fame.

As their notability inevitably grew larger, the members remained distinctively down-to-earth. Their willingness to be vulnerable and unguarded on public platforms like social media allowed fans to feel a genuine connection to the band. It was a stark contrast to anything like the manufactured personas of public figures that had become the norm in the pop music landscape.

The legacy of One Direction was forever altered by the passing of member Liam Payne on Oct. 16, leaving the group and their legions of devoted fans in a complex state of grief in the midst of Payne’s recent controversy and public scrutiny. Fans and casual listeners returned to where they first met, the internet, and spoke about their complicated feelings towards Payne’s death.

The early 2010s were not only their peak but also the end of One Direction as we know it.  While the group may never reunite, the memory of One Direction will endure. Long live 1D.