Discovering your own musical style is a unique part of every artist’s journey. What sets your music apart? What is unique, or at least uncommon?
• Because I am a true musician first makes me unique. I actually incorporate live instruments in my music. Certain songs I’d record sax parts and other songs I have get a live bass player. Also I prefer my beats to musical with progressions, chords and changes. Some songs don’t need all that and I learned that simple is better so I can have fun on a less musical beat as well.
• Another thing that makes my music unique is the combined style of Hip Hop, Dance Hall, R&B and Pop genres within my music. Certain songs are more dominant in one genre but if you take a listen to my catalog then you’d understand exactly what I mean. All in all I make feel-good music or as the title of one of singles, I make “Good Vibes” music!
“Slip N Slide” is captivating from the start to finish with a combination of unique beats and catchy lyrics. What was the inspiration behind the single?
• THANK YOU!!!!
• Slip N Slide is a fun vibrant song about being on my grind as I quote, “We rock dem shows but they don’t know, these lonely roads, make my dreams unfold!” and I think the first part of the hook says it all melodically, “Straight Vibin, I’m shining, we sticking and rolling….” As it is said in Jamaica, “everything irie” that’ the “straight vibin” part; the “I’m shining” part is the grind coming to light and the “sticking and rolling” part is the fun juke dance style of Miami. To sum it all up, I’m having fun while on my grind! Slip N Slide has the essence of Florida, more specifically, south Florida, particularly a Miami sound. While on my All or Nothing Tour in Los Angeles, California early 2020 (pre-pandemic), just listening to some beats from producer Rockomal of the rap group Suns of Atliens, he played the early stages of this beat and I loved the sound immediately. I wanted to write about LA vibes which I was able to reference a little but the music sounds feels and is Miami. I wrote the 3rd verse and completed the recording of the song in Tallahassee, Florida. We filmed the music video in Miami, Florida on Monday, March 29, 2021 and the video is set to release on Friday May 28, 2021 which is Memorial Day Weekend.
What draws you to your preferred genre?
• Growing up in Miami but also being deeply rooted in the Jamaican culture is what connects me to my sound! Miami is known for fun, vibrant and bounce juking sounds that make you want to dance. Jamaica is known for dance and just pure Good Vibes! Put this background, experiences, sounds and traditions together and through King P, you hear songs like Slip N Slide and Good Vibes and I can’t wait till you hear the songs I have in the vault to be released in the near future!
Which one of your songs has the most memorable story for you? Whether it’s the writing process, recording sessions or release of the song.
• Good Vibes – On October 1st (missed flight home to Miami and almost couldn’t get another flight) made it to Miami about 11pm and went straight to club Fate where I was a guest appearance for my birthday on October 2nd. We stayed there till about 5 am. From there my friend Camile and I hung out all day and later going to the Ginger Bay restaurant/club before going to the beach and
staying there overnight till midday the next day on October 3rd. As I’m driving, taking Camile home the mood of the song hits me so I call the producer James “Boowie” Murphy and asked if he was available for a session within the next hour; he said yes. “Great, I’ll be there” was my reply. We hung up but he called me back shortly telling me to bring a bottle and asked what vibe I’m looking for so he can already begin to feel it. I described the mood perfectly. When I pulled up to his studio, Boowie had a shell of the Good Vibes beat playing as I walked in and I was smiling ear to ear saying that’s it! We dibble dabbled on the lyrics and before you knew it, we co-wrote GOOD VIBES. It didn’t take long! As we played it back, goosebumps took over my body and I instantly felt like this song will break into the mainstream in a major way.
We made a few more songs that day that had me so caught up, I almost forgot about my flight that I almost missed. I started the release process for Good Vibes immediately; however, I ended up holding the song for a year before releasing after Boowie told me he was shopping the song to major artist. Although that opportunity was huge, I was disappointed. Anyway, months down the line, I had a private listening session with TJ Chapmen, the manager of artists B.O.B. and Trap Becham. When I played Good Vibes, TJ looked at me and said, “what are you waiting on to release this”. I began the Good Vibes campaign soon after and the song began to spread fast as I got calls from everywhere even as far as Germany.
It was two questions that I kept getting asked: 1. Where’s the music video for Good Vibes? 2. Do I have a follow up ready? I had ran out of money at that time so no music video was happening and although I had more songs lined up, no song I thought matched Good Vibes at the time, so no I didn’t have a true follow up to Good Vibes at the time. I just continued to work the song including making Good Vibes merch and launching a series of “Good Vibes shows”. I had a concert at the local premiere club, The Moon with almost 400 people in attendance. Unfortunately, I didn’t finish that concert due to a severe storm randomly hitting that night and turning off power for hours. While continuing to work the song, months later the idea hit to raise money via a Kickstarter campaign so we could film the music video. The goal was $15k and with the support of fans, friends and family we did it! That campaign was intense and hard work, no sleep type of grind! We secured a production team in Jamaica and the rest was history. There were some hiccups on the trip but overall the experience was great and even better the trip allowed me to unite and meet my father’s side of family for the first time in Kingston Jamaica
(https://youtu.be/0CLMQZb-__c). We documented everything, every day of the ten days there we filmed something outside of the Good Vibes set.
How do you go about writing a song? Do you have a melody in your head and then write the other music for it?
• I allow the music to speak; it tells me what to write about based on my emotions and experiences. I never force the creative process, so if I feel nothing, I move on. Sometimes the melody comes first and sometimes the verses come first. The title always comes last and that can change multiple times before finalizing. If you could collaborate with any artist, who would it be?
I’m open to collab with anyone as passionate and serious about their music as I am. To collab with the current industry, giants would be amazing. Artists like Drake, Roddy Rich, DJ Khaled, Kanye West, and even Jay Z would be a huge accomplishment! I specifically like Roddy Rich because I see that he is a real musician using orchestras in his live performance. He has a taste for music and musicianship as I do!
What is one message you would give to your fans?
• Learn yourself, love yourself, be true to yourself and everything will fall in place! Good Vibes to the World!
For our final question, is there anything else you would like to add?
• Last but first I want to share my brand statement: King P (born Phillip Solomon Stewart in Miami, Fl.) is a Jamaican-rooted Hip Hop artist and multi-instrumentalist currently residing in Tallahassee, Fl. who delivers an unmatched level of energy through his Dancehall flair.
• WHAT’S NEXT – Featuring in a major film as the star actor and performing on the biggest festival stages as the world opens up from the pandemic are my short-term goals. What’s immediately next for me is the release of my Slip N Slide Music Video on May 28th. Then releasing more music and more already filmed unreleased music videos for songs like Top Notch, Tonight We Party, Aloha and My Life in Time. Then as an independent record label owner (PALACE MUSIC RECORDS aka KINGP ENTERTAINMENT), I have a special artist single and EP we are getting ready to release in the next couple of months. I am very excited about this project just as I am excited about my projects!
British singer-songwriter TaniA Kyllikki brings an unusually wide musical palette to her work. Motown soul, the vocal intensity of 1990s R&B, contemporary pop, retro-soul, house, hip-hop, and classical influences all find a place in her emotionally expressive style. Her remarkable five-octave range gives her room to move between hushed, vulnerable phrases, rich lower tones, forceful belts, and piercing whistle notes. Yet her storytelling matters just as much as her technical ability. Love, resilience, self-worth, and the need for human connection shape the personal experiences she brings to her songs.
Her dance anthem “HUMAN,” which has attracted more than one million YouTube views, takes that concern for connection into a much wider conversation. The idea grew from a late-night bedroom conversation and a heartfelt response on social media. Troubled by the hostility directed at people of different races, cultures, and backgrounds online, TaniA turned her frustration into a call for equality, empathy, and peaceful coexistence.
The sound is strikingly physical. Hard techno-house rhythms push the track forward, with pulsing synthesizers and an insistent four-on-the-floor kick keeping the momentum high. Against that tough electronic pulse, TaniA’s soulful, gospel-inspired singing brings warmth and emotional urgency. The contrast gives “HUMAN” much of its character, creating a dance record with the intensity of a heartfelt appeal.
Producer Rynellton shapes the dramatic electronic backdrop, giving the vocals space to rise above its heavier textures. TaniA makes full use of her extraordinary range, starting in delicate, almost fragile passages before opening into commanding high-register belts. Those shifts are expressive rather than ornamental. At her most impassioned, she sounds as though she is speaking directly to someone who needs to hear her message.
That message is uncomplicated, but the feeling behind it runs deep. The lyrics challenge the divisions that grow around race, culture, and background, asking listeners to recognise the humanity they share. By putting mutual respect and compassion at the centre, “HUMAN” answers online cruelty and prejudice without surrendering to their bitterness. Its club-ready beat invites movement, while the words leave room for reflection.
There is also a beautiful spiritual quality to the performance. The gospel inflections and soaring vocals make the appeal for kindness feel almost like a prayer. For a listener moved by faith, it is easy to hear grace in the way TaniA sings and to feel that her voice is a gift from God. Her ability to carry tenderness and conviction in the same phrase gives the track an unusual emotional reach.
That generosity feels especially poignant alongside her own struggles with chronic illnesses. Knowing she continues to create and share music while facing those physical challenges adds another layer to the resilience heard in her performance. The affection she inspires is understandable. There is something deeply touching about an artist who draws on personal pain while asking others to treat one another with greater care. Her voice carries a beautiful sense of human understanding, and the kindness behind her message feels genuine. Thank you for sharing that extraordinary gift with us, TaniA. Keep being your authentic, beautiful self, Songbird.
The emotional impact of “HUMAN” comes from how its hopeful message survives the weight of the production. The pounding rhythm never overwhelms the compassion in the singing, and the earnestness of the lyrics does not drain the track of its dance-floor energy. Born from frustration with division, the song chooses hope instead, letting listeners feel that choice through both its relentless beat and soaring vocals. That balance between physical intensity and emotional tenderness gives “HUMAN” its distinctive spirit.
Atlanta singer-songwriter Sean Waterman has long drawn from indie rock, roots-rock, folk-pop, and blues-infused alternative pop, shaping a sound that feels refreshingly organic. Acoustic intimacy sits comfortably beside alt-rock grit, subtle alternative R&B influences, and evocative textures. Holding those elements together is his poetic, emotionally attentive songwriting, which gives even his most introspective reflections an inviting sense of storytelling.
His latest single, “Faith Crisis,” takes that foundation somewhere unexpected. Waterman steps decisively into electro-pop and trip-hop territory, pairing ethereal electronic production with the acoustic guitars and candid vocals that have defined much of his work. The change feels substantial, yet the song retains the human warmth of his earlier material.
Atmospheric synth pads, ambient layers, and programmed sounds create a spacious, almost dreamlike setting. Where his roots-rock arrangements might once have relied on more traditional instrumentation, “Faith Crisis” embraces a darker, more immersive electronic palette. The arrangement has room to breathe, even as its different textures gradually gather weight.
Its rhythmic pulse is especially compelling. Crisp programmed drums and intricate lo-fi beats give the track a steady, mid-tempo drive, while downtempo trip-hop patterns and alternative R&B undertones introduce a lingering sense of unease. Against that carefully constructed backdrop, Waterman’s acoustic guitar remains unmistakable.
Those strums are crucial to the song’s character. Their raw, tactile quality cuts through the polished electronics without competing for attention. The contrast allows the organic and synthetic elements to strengthen each other, giving the production an intriguing depth rather than letting its atmosphere become overwhelming.
Waterman’s singing is just as affecting. Smooth and sultry, his voice carries a vulnerability that suits the song’s reflective subject matter. He begins in a hushed, almost confessional register before gradually opening into a fuller, more urgent performance. His alternative R&B and pop instincts come through clearly in the phrasing, but the emotional exposure remains the real attraction.
As the beat gains intensity, his delivery follows it upward. Rich harmonies and world-music-inspired melodic passages shape an expansive crescendo, bringing the track’s carefully layered ideas into focus. The final stretch is particularly memorable, with cinematic acoustic strumming lingering after the vocal peak. Believe me, it is the kind of ending that makes another listen awfully tempting.
Beneath those enveloping sounds, “Faith Crisis” considers the discomfort of questioning long-held beliefs. Its emotional landscape is one of personal reflection, existential uncertainty, and the search for some form of escape when spiritual or emotional life feels unsettled. That tension lends purpose to the track’s movement between intimacy and grandeur.
The song settles into a moody, ethereal, and deeply cinematic atmosphere, balancing late-night melancholy with a genuine feeling of release. Its most absorbing quality is the way the production makes space for doubt without trying to resolve it too neatly. Waterman leaves us with something beautifully isolated, yet strangely cathartic.
IurisEkero makes electronic pop feel personal. His music moves between contemporary pop, synth-pop, and atmospheric electronic music, with shimmering synths and immersive textures carrying nostalgia, romance, longing, and self-reflection. The balance draws on his bicultural upbringing and deep musical roots. As his sound evolves and reaches international audiences, he continues turning ordinary experiences and complicated emotions into something cinematic.
On his latest release, “Here I Stay,” there is a clear sense of purpose. The song, the first track from an upcoming album scheduled for release on November 6, 2026, centers on the decision to remain present, hold on to a connection and find stability within it. Its defining hook, “Here I Stay (here I stay), I found my home in your eyes…I’m not leaving this time…” brings that feeling into focus. The words are direct, and the chorus is difficult to forget.
The production surrounds those sentiments with a deeply ambient, almost haunting atmosphere. Crisp electronic layers give the song modern polish, while nostalgic warmth runs through the arrangement. Then there is that electric guitar solo, an alluring detail that lifts the mood without breaking the music’s immersive spell.
Underneath, a steady mid-tempo pulse keeps everything moving. The groove pulls you in, yet leaves space for the melody and lyrics to register. The chorus is especially infectious, with the kind of repetition that lingers after the music stops. There is plenty happening in the mix, but the cinematic synthesizers and more organic instrumental accents never compete with one another. Even the guitar has room to breathe.
Vocally, IurisEkero takes an unhurried approach. He pays attention to phrasing rather than forcing the emotions outward, letting each line settle before the next arrives. By avoiding heavy vocal effects, he keeps the performance intimate and conversational, a fitting choice for a song about deliberate emotional commitment. The movement from softer verses into a fuller, more resonant chorus feels fluid and gives the song its tension between exposed vulnerability and quiet resolve.
That restraint may be the clearest sign of where IurisEkero is headed creatively. His electronic foundation remains firmly in place, but the storytelling feels more grounded and the production serves the emotional arc rather than drawing attention away from it. “Here I Stay” holds together because its atmosphere, hook, guitar and vocal delivery all point toward the same idea: choosing to stay, and meaning it.