Julia Michaels is one of the strongest new artists of 2017. Her first single, “Issues,” made it to number 11 on the Billboard Hot 100 and was certified double platinum just months after its release. She has already been labeled an artist to watch by Rolling Stone, Vevo and Billboard.

Though “Issues” is her first single, Julia Michaels is far from new to the industry. It isn’t even her first song to be a smash on the radio. Much like Sia, Julia Michaels has spent years as a songwriter behind the scenes. She has written for Britney Spears (“Slumber Party”), Fifth Harmony (“Miss Movin’ On”), Linkin Park (“Heavy”) and more. She has amassed 12 Billboard Hot 100 entries, including “Sorry” by Justin Bieber and “Hands to Myself” by Selena Gomez.

Michaels released her debut EP “Nervous System” July 28. It is a small collection of strikingly vulnerable yet pure pop songs. The bulk of it was produced by Mattman & Robin, and features writing from her frequent collaborator Justin Tranter (formerly of Semi Precious Weapons.) Over the course of seven songs, the native Iowan depicts a conflicted, dysfunctional girl looking for love to work out.

The first song on the EP is her debut single “Issues.” This song inspired her to step into the spotlight. Before this, all the songs she wrote she gave away to other artists. With “Issues” she felt the song was too personal to have anyone else sing. The lyrics tell the story of a flawed relationship. The track is sparse, relying solely on plucked string instruments for the first verse and pre-chorus before the bass drops in the chorus. It is a strong opener, leading into a robust 20 minutes of pop music.

“Uh Huh” is the second song, and also her second single. The fun declaration of love showcases how she can use her vocal cracks and squeaks to her advantage. The refrain of “uh huh” dances on the border of annoying valley girl, but becomes terribly catchy after a second listen. She proves to be a bit of a wordsmith in the lyrics too. It’s not very often you hear the word “phonetic” in a pop song.

“Worst In Me” appears to be a continuation of “Issues.” The dysfunctional relationship is on the brink of destruction by their own hands. She is afraid the relationship might work out, so she keeps sabotaging it. She suspects her partner is doing the same. The emotions are raw and relatable. In the bridge she pleads: “I won’t hurt you again, if you won’t.” It’s a beautiful and sad track.

The next song is the resolution to the fight. On “Make It Up to You,” she says: “I wish I could be that tender, stable girl that you want, but I’m not.” A bold line that not many would have the guts to say aloud, let alone to the whole world. In the chorus she asks to make it up to him. Like in the song she wrote for Hailee Steinfeld, “Love Myself,” the lyrics walk to the brink of being suggestive.

“Just Do It” is an oddly happy track for someone getting broken up with. Her vocal delivery and the lyrics aren’t necessarily happy, but the instrumental has this bounce to it that makes it hard not to bob your shoulders up and down.

“Pink” is the most fun to listen to in this EP. After verses chock full of innuendo and metaphor, the chorus is an ironic whisper: “There’s no innuendos, it’s exactly what you think. Believe me when I tell you that he loves the color pink” (wink heavily implied.) The song isn’t even trying to be sexual. It’s sarcastic and funny. The insistent fuzzy bass, heavy breathing and the old school hip-hop beat blend to make a certified bop.

The final track on the album is Julia Michaels at her most vulnerable. You can hear her fighting through the pain with audible sighs throughout the track. Written and produced on her own, “Don’t Wanna Think” is a tragic piano ballad. She’s drunk and lamenting on her ex; her voice shines on this track.

“Nervous System” is a compelling debut. Michaels proves that she has not only the vocal chops, but also the emotional backdrop to uphold a solo effort. I anticipate hearing more of these songs on the radio soon, and Julia ending the year on a few Best New Artist lists.

Her debut album “Badlands” made Halsey a breakout star in 2015. She has since toured the world and broken into the mainstream with The Chainsmokers. Ready to show more of her abilities, she released her sophomore effort “Hopeless Fountain Kingdom” June 2.

Halsey went all out while building a team to create “Hopeless Fountain Kingdom.” She aimed to make a more radio friendly album, collaborating with some of the hottest people making music right now, from powerhouse producers like Greg Kurstin, Benny Blanco and Ricky Reed to contributions from Lauren Jauregui (Fifth Harmony), Sia, The Weeknd and Quavo (Migos).

The album tells two stories. It is a concept album that tells the story of the fictional kingdom Halsey has crafted based on Baz Luhrmann’s 1996 adaptation of Shakespeare’s “Romeo + Juliet.” The protagonists Luna and Solis are a modern version of the famous star-crossed lovers, facing an ill-fated love in the 21st Century. At the same time, the album tells the story of Halsey’s own break-up from longtime boyfriend and producer Lido. The lyrics, all written by the singer herself, brutally and beautifully illustrate all of Halsey’s own feelings.

The album begins with the aptly titled, “The Prologue.” It features a recitation of Shakespeare’s prologue to “Romeo and Juliet.” She then paints a picture of Luna and Solis’s world singing: “I am a child of a money-hungry, prideful country.” The first actual song, “100 Letters,” is one of the strongest songs on the album. It was the first song Halsey wrote for the album, and like the prologue to “Romeo and Juliet” it outlines the entire story of the relationship. It has a fun beat and pre-chorus will get stuck in your head.

From the moment Halsey’s voice enters on “Eyes Closed,” you can tell The Weekend was involved on the track. It has his signature trap beats with a ballad melody mix.

“Heaven in Hiding” and “Alone” tell the story of the same party from the two characters’ perspectives. “Heaven in Hiding” is a dark, roaring track where the physical aspect of the relationship is described. It is one of the strongest vocal performances on the album. “Alone” sounds like it could have been on the soundtrack for “The Great Gatsby.” It is a new sonic territory for Halsey.

The next track is the album’s lead single “Now or Never.” It has the all too familiar chorus structure of repeating one word ad nauseam. But, it’s catchy.

“Sorry” is a standout track. The song is a showcase for Halsey’s voice and lyrical craft. While many of the songs are based around electronic and synthesized sounds, here her voice is accompanied by just piano. The lyrics are heart-wrenchingly honest. In the chorus she sings, “Sorry that I can’t believe that anybody ever really/ Starts to fall in love with me.”  

It is followed by a foreboding interlude spoken by a young boy (fun fact: it’s actually the voice of her younger brother). It signals the narrative taking a turn, and the little melodic tag is wierdly catchy.

“Lie” sees Halsey serving bars and a guest verse from rapper Quavo between a belted melody washed out in reverb. It is definitely one of the most experimental tracks. “Walls Could Talk,” “Bad At Love” and “Don’t Play” are probably the closest to the Halsey from “Badlands.” They all give off the badass, take-no-prisoners, rockstar attitude that grabbed everyone’s attention on her debut.

“Strangers” was released a couple weeks before the album and has made waves on the internet. It is being lauded as an achievement for the LGBT community. It appears to be the first mainstream same-sex love duet. The song is a duet between Halsey and Lauren Jauregui, who have both come out as bisexual. The song contains a storyline that is common in pop songs, but the simple use of feminine pronouns instead of gender neutral ones make it revolutionary and important. Also, it’s a certified bop.

The last three tracks on the album close out on a somber note. “Angel on Fire” seems like the aftermath of “Alone,” she now feels like people don’t care about her anymore. “Devil in Me” talks about inner demons, and the roaring chorus is recognizable as co-written by Sia. The closing track, “Hopeless,” is the acceptance that the relationship has reached its messy end.

As a body of work, “Hopeless Fountain Kingdom” is a lofty experiment. But, it delivers on all fronts. There are multiple radio-ready songs, and it effectively illustrates the narrative. Halsey’s sophomore effort will probably end up landing on many Best of 2017 lists in the winter. If you don’t have time to listen to the full album, I recommend checking out “100 Letters,” “Sorry,” “Lie,” “Don’t Play” and “Strangers.”

Photograph by Tosh Farrell for The Triangle

Singer-songwriter Ruth B. performed May 23 at The Foundry at The Fillmore as a part of her “Safe Haven Tour: Part I.”

She showcased her amazing vocals and melodic craft for the intimate crowd gathered to see her. This is her first headlining tour after previously opening for fellow Canadian Alessia Cara last year.

Originally from Alberta, Canada, Ruth was discovered on the social media platform Vine. She broke into the radio waves last spring with her song “Lost Boy.” Ruth recently won Breakthrough Artist of the Year at the Juno Awards.  

Her show was opened by Davie, a producer and songwriter from Los Angeles. His music had elements of R&B, funk and soul. He played an energetic set that got the crowd moving and singing along.

After Davie, Ruth B took the stage for her set. The 21-year-old brought her soulful sound to life on The Foundry stage. She performed songs from her debut album, “Safe Haven,” which was released May 5.

She started with her song “Mixed Signals.” She began offstage, instantly commanding attention by her voice. And what a voice it was. Her sound was smooth and soulful while still feeling delicate.

Her performance of “World War 3” showed off her head voice over dark, smokey instrumentals. The song effectively created the atmosphere behind the metaphorical lyric, “You meant the world to me/ Then you went World War 3.”

The songs then took a lighter tone, capturing the happy beginnings of a relationship. “In My Dreams,” which was featured in the show “Once Upon a Time,” built dynamically as the song progressed. The lift into the last chorus exhaled euphoria brought on by the prospects of love at first sight.

“Dandelions” is one of the strongest tracks on her album. In the live performance, it really highlighted her vocal flexibility in the melismatic chorus. She chose to perform “Young” just accompanied by the keyboardist. Compared to the studio version, it lacked that sense of energy and urgency the driving beat gives it.

For the next part of the set, Ruth B. stepped behind the keyboard herself. You could tell that this was where she felt most comfortable as she performed  “Golden” (a track from her EP, “The Intro”) and two more songs from “Safe Haven.”

The next two songs were probably the biggest highlights of her musical abilities. The first was “If This Is Love.” The song is a soulful and emotional tour-de-force.

It’s hard to say which is more impressive: the fact that she wrote it by herself or her inspiring performance of it. The second song was a cover of Ed Sheeran’s “Shape of You.” Many have attempted Ed Sheeran’s delivery on the track, but Ruth reimagined the track with her own flavor. Giving the song a stronger R&B flair and tighter groove, this song was a showcase for her knack for melodic lines. She kept Sheeran’s lyrics, but delivered all new melodies, claiming the performance as her own. If you are a fan of the song, be sure to check out the video of this cover on her Vevo page.

She closed the show with performances of her two singles. It was obvious the crowd had been anticipating “Lost Boy,” as they sang along to every word. “Superficial Love” brought the show to a fun and bouncy end.

The biggest takeaway from the show was how genuine the budding star is. After she finished up her performance, she stuck around to meet her fans and take pictures with them. Ruth B. shows a deep connection to her music and a true appreciation of her fans.

Photograph courtesy of Columbia Records

Almost two years have elapsed since One Direction went on hiatus. In that time we have seen solo releases from Niall Horan, Louis Tomlinson, former band member Zayn Malik and most recently, Harry Styles. Liam Payne is also working on his solo debut with a single coming May 19.

Harry Styles released his eponymous album May 5 through Columbia Records. It was arguably the most highly anticipated solo project from the former boy band. The album’s first single, “Sign of the Times,” was released April 7 and secured number 11 on the Billboard Hot 100. The song was the first of the stylistic departure for Styles’s music.

Ditching the mainstream pop of One Direction, Styles goes for a variety of ’70s rock styles. “Sign of the Times” is a six-minute piano rock ballad that feels familiar but not necessarily derivative. He recently revealed that the song is written from the point of view of a mother dying during childbirth. Though this concept is a little off-putting, the lyrical content is vague enough to forget about it.

Only eight songwriters contribute to the album, with Styles co-writing on each of the 10 tracks. This is a very small number, considering that just one song on the radio today could almost have more writers than there are lyrics. Members of the team have written for the likes of Beyonce, Kanye West, Fun, Ed Sheeran, Taylor Swift, Keith Urban, Florence and the Machine, and Young the Giant. The bulk of the project was recorded and written by the team on a two-month trip to Jamaica.

The spoken introduction to the penultimate track states: “Should we just search romantic comedies on Netflix and see what we find?” This statement almost reads as a summary for the album. Though presented with more drama than comedy, the album depicts many relationships and interactions with love.

The songs are very rock oriented, with catchy pop-influenced hooks. This sound from Harry is familiar to hardcore One Direction fans that know deep cuts like “A.M.,” “Olivia” and “Long Way Down.” They sound fresh yet familiar. The lyrics are obviously personal, but he maintains privacy by keeping their subjects shrouded in mystery.

Nonetheless, his dedicated fans are determined to find the truth. Fans of Harry Styles had already decided that “Two Ghosts” is about his ex-girlfriend Taylor Swift before the album was even released. The song is one of the strongest on the album, with raw emotional lyrics and a relaxed mid-tempo groove. He compares himself and his former flame to ghosts, unrecognizable from who they were when they were together.

“Meet Me in the Hallway” is a plea to be chased after a fight. He’s walking out on her, but is hoping she follows and feeds into his addiction. “Carolina,” the last song written for the album, has a groove reminiscent of “Stuck in the Middle with You” by Stealers Wheel.

“Sweet Creature” almost sounds like an early Mumford & Sons tune. It’s a beautiful ballad where Harry’s vocals really shine. “Only Angel” and  “Kiwi” are the strongest rock performances on the album. “Kiwi” is my personal favorite and the shortest on the album. The drums hit hard and drive this raucous performance.

“Ever Since New York,” which was fittingly debuted last month on Saturday Night Live, asks for answers after a harsh break up. The lyrics are a great example of his ability to sketch a scene with emotions that feel so specific with lines that remain vague.

The album closes on a melancholic note with “From the Dining Table.” The most lyrically specific song on the album; the heartbreak is real on this one.

Overall, the album lives up to all of the buzz. Harry Styles does properly establish himself as a rock star, but fails to bring something sonically new. All of the songs seem to borrow too heavily from the past, and you don’t get a sense of what a Harry Styles song sounds like. Listeners get the deepest sense of Harry’s style from his lyrics.

The 40-minute album is a must listen for fans of One Direction but should also pique the interest of some of the group’s haters. For the readers out there that subscribe to Apple Music, be sure to also check out the short “Harry Styles: Behind the Album” documentary released May 15. He performs the album in the famous Abbey Road Studios and talks about the process and inspiration behind the songs.

Photo courtesy of Columbia Records

Lately, there has been a notably large influx of Canadians making their mark on the music industry: from Drake and Justin Bieber, to Alessia Cara, the Weeknd and even Shawn Mendes.

The latest entry? Alberta native Ruth B. was discovered after she grew a huge following on the social media platform Vine (just like Shawn Mendes), she broke into the radio waves last spring with her song “Lost Boy.” Following the surprise success of that single, Ruth B. released her debut album May 12.

Entitled “Safe Haven” the album serves as a strong, first full-length, offering to the world from the 21-year-old singer-songwriter.

Many debut albums strive to give listeners a sense of who the artist is. With younger artists, the message often ends up getting cluttered as they try to define too many parts of themselves. This is not the case with Ruth B.

The album presents a cohesive identity: soulful, reflective and honest. The cohesive production is likely a product of her using only one producer: Joel Little. He best known for producing Lorde’s debut album “Pure Heroine.”

In a music landscape that is currently dominated by synths, samples and long lists of songwriters, this album is refreshing. Ruth Berhe, known by her stage name Ruth B., has written all 12 of these songs by herself and they all center around the piano. Her sound is like a stripped down combination of Sara Bareilles and Alicia Keys.

The first song, “Mixed Signals,” introduces the listener to some consistent elements in the album. First is the simple instrumentation featured on most of the songs second is the expressive and musing vocals and third is the complicated love that many of the songs are written about.

As Ruth B. unpacks her feelings and processes them in song, she writes about similar situations from different angles. For example, the songs “Unrighteous” and “Superficial Love” are back to back on the album. The former details a relationship where neither actually loves the other.

Knowing they started because it was fun and knowing there’s nowhere for it to lead, she sings “No chance we’re going to make it/ But baby can we fake it?” This is immediately contrasted in “Superficial Love,” where she sings “I want authentic, not just for fun.” This juxtaposition creates an interesting statement within the album.

“World War 3” is a dark pop song ripping apart a tragic breakup. The grim metaphor and the production make this song really standout among the others. It seems like a bit of an outlier when looking at the project as a whole. “If By Chance” is probably the most heartbreaking track. It’s directed at an ex that has moved onto a new relationship. It runs a similar story to “Happier” by Ed Sheeran, but she selfishly still wants him back.

Though most of the songs talk about love and relationships, there are some notable departures. The first is the aforementioned “Lost Boy” which was inspired by the show “Once Upon a Time.” The second is an ode to youth simply titled “Young.”

This song is probably the most pop-oriented song on the album. It stands out among the others because the beat really keeps the song driving forward, where as on most of the others the beat comes almost as an afterthought. The title track is a ballad about the person that makes you feel like everything is alright when nothing is going right.

“Dandelions” and “If This is Love” are the strongest songs on the album. “Dandelions” is a mature take on the classic “He loves me, he loves me not” flower trick. “If This is Love” is a soaring plea to fix a relationship. She is not sure she is ready to walk away but the relationship hurts her too much to stay.

Overall, the album is a strong debut from a young artist. Her voice is at the forefront of the album, but her songwriting really backs up her artistry. She’s come a long way since her start on Vine.

Amy Schumer takes to the big screen again in the new movie “Snatched” directed by Jonathan Levine. Dropping the rom-com aspects of her last film “Trainwreck,” she takes on a mother-daughter action comedy. Her mother is played by Hollywood legend Goldie Hawn —  this is her first film in 15 years.

The movie was written by Katie Dippold, who also wrote episodes of “Parks and Recreation” starring Amy Poehler and “The Heat” starring Melissa McCarthy and Sandra Bullock. Amy Schumer plays Emily Middleton, a self-absorbed woman in her thirties whose personality could pass for that of a millennial.

After losing her retail job and going through a rough but hilarious on-screen break up with her boyfriend, she finds herself needing a plus one for her non-refundable trip to Ecuador. Realizing her friends have grown to despise her, she turns to her mother Linda.

Linda Middleton is a timid cat enthusiast. She rarely leaves her home where she takes care of her agoraphobic adult son played by Ike Barinholtz from “Sisters” and “Suicide Squad.” Needless to say, she is not easily sueded into accompanying her daughter. But after a rousing speech, Emily prevails and the two embark on a journey to a fancy resort in Ecuador.

While in Ecuador, Emily cluelessly follows a handsome man promising adventure and dragging her reluctant mother along. As one could guess from the title the duo ends up getting kidnapped.  Eventually finding themselves in Colombia, Emily and Linda face a tourist’s worst nightmare, being held for ransom by the notorious Morgado — a bad, bad hombre. The rest of the movie is a daring attempt to escape and make it back to the U.S. The two dysfunctional females find their inner strength and forge a deeper bond with each other.

For people who have reservations about seeing this film due to Amy Schumer’s woman-empowering stand-up, fear not. She tones down the female-centric humor for a more accessible brand of comedy.

The movie embraces lots of comedy styles: slapstick, visual, witty banter and so much more. Perfectly timed one-liners surprise the audience and keep them laughing. The movie relies heavily on absurd characters and the chemistry between Hawn and Schumer to keep the viewers engaged. Appearances from Wanda Sykes, Joan Cusack and Christopher Meloni (a huge departure from his role as Detective Elliot Stabler on “Law and Order: SVU”) succeed in adding some more star power to the film.

For realists, the plot line definitely has some holes but it’s funny enough to look past them. There are several instances of cringe-worthy comedy where squeamish audience members may need to avert their eyes.

Fans of Amy Schumer will note that “Snatched” pales in comparison to “Trainwreck.” Where “Trainwreck” blazed new trails and took risks, “Snatched” decides to play it safe and relies on old standbys. It is a solid summer comedy that will make you laugh but not necessarily amaze you.

Be sure to catch it in theaters when it is released May 12, just in time for Mother’s Day.

Netflix released Justin Simien’s first television series, “Dear White People,” on April 28. It has since caused an uproar on multiple social media platforms.

Many Twitter users felt the title unfairly promoted anti-white sentiments. They pointed out that if there was a series called “Dear Black People,” it would be met with outrage, and began to use the hashtag “BoycottNetflix.”

Despite this negative publicity, the show has received some critical acclaim. This satirical Netflix series follows in the footsteps of a 2014 movie of the same name.

Using characters with the same names and the same fictional Ivy League backdrop, the 10 episodes explore racial relations further.

This series is a must-watch, whether you have seen the movie or not. For those who have, the series begins at the movie’s climax and moves on from there. For those who haven’t, the half-hour episodes feature a standalone plotline.

The story begins with Samantha White, who is played by Logan Browning. She is the host of a controversial radio show on her campus titled “Dear White People.” Her show is contentious with the administration, the not-so-diverse student body of Winchester University, and the school’s black community.

Sam’s words spawn the campus humor magazine, “Pastiche,” to plan a “Dear Black People” Halloween party, where guests don blackface.

As one would guess, the campus’ black community is not happy about this. They crash the party and bring the campus police in to shut it down. These events unravel in a matter of about two minutes, setting the fast pace of the show.

The show also tackles many common racial faux pas, including but not limited to: white people saying the N-word while listening to rap music, a campus ad photo depicting the student body’s “diversity,” the doll test and the idea that all black people look alike.

Even larger societal issues like our culture of labels, the realities of protesting in safe space culture, and society’s heteronormativity are dealt with. While commenting on all of these, the show remains light in character. It’s a comedy at heart, delivering quick one-liners between, and sometimes during, dialogue on heavy subjects.

Every episode is told primarily from the point of view of one character, giving each character depth. In the first episode characters like Reggie Green, Troy Fairbanks, Coco Conners and Lionel Higgins appear to be archetypes perpetuated by modern culture. But the following episodes take the time to flesh out the complex humans underneath their surface.

“Dear White People” does not leave out the conflicts which exist within the black community either. The characters are constantly working with and against each other. Depictions of competing student organizations and meetings with the dean outline the hypocrisy in claiming there is one way toward social change.

Some of the most informative conversations happen between the black characters that are at odds with each other. And some of the funniest moments are parodies of black culture, namely the hate-watched “Defamation,” an anything-but-subtle poke at Shonda Rhimes’ “Scandal.”

The cinematography showcased in the series further enhances the story. The show breaks the fourth wall, as characters seem almost self-aware at times, talking directly to the camera but never breaking their onscreen conversation.

In conclusion, the show deftly examines many difficult and multisided issues that face a so-called “post-racial America” while remaining humorous. I would recommend a viewing of this show for everyone.

There are many things anyone can take away from this show if they give it a chance. This show may be the most eloquently relevant series to stream in 2017. If you claim to be woke, this is must-see TV.