Joe Doonan is one of those rare singer-songwriters in modern pop-rock whose music carries a genuinely meaningful message. Rather than remaining on the surface, his lyrics explore the realities of love, loss and heartbreak. His new EP is a perfect example, delving into the emotional aftermath of meaningful relationships coming to an end and tracing the stages of grief, loneliness and self-discovery that follow when someone who was once part of your everyday life is suddenly gone. Rooted in personal experience, the EP documents a deeply human journey through love, struggle and the mental toll of loss, while ultimately finding hope in the possibility of new beginnings, renewed purpose and deeper connections.


But what about the new EP then? Well, the intimate and intricate title title track “Hope” gets things underway, offering a perfect introduction to Doonan’s greatest superpower: the acoustic pop song. The recipe is deceptively simple. Recorded close to the microphone, the track is wonderfully sparse, leaving nowhere to hide behind layers of production or studio trickery. Fortunately, Doonan needs no hiding place. “Hope” is every bit as impressive as a vocal performance as it is a pop song, with a timeless quality that makes it sound like something James Blunt and Paul McCartney might have cooked up together. “’Til We Find Love” leans slightly more towards a fully fledged pop production, but retains all the hallmarks of Doonan’s music: infectious melodies, thought-provoking lyrics and strong, expressive vocals that carry more than a touch of a life well lived. “Before You Leave” closes the release with acoustic exuberance and melodic grandeur, leaving the listener wanting more. Give it a listen; if that chorus doesn’t have you tapping your foot and singing along, there’s a good chance there's something wrong with your hearing.


What can I say? Doonan’s résumé is every bit as impressive as his music. He has worked with multi-platinum and Emmy Award-winning songwriters including Paddy Byrne (Tom Grennan, Paloma Faith) and Rob Wells (Adam Lambert, Ariana Grande), while his live career has taken him to Liverpool’s Official Eurovision Festival, London’s prestigious Bedford, and sell-out audiences across Australia and the UK. Yet his greatest strengths remain his songs, his voice and his guitar. Whatever track you put on, there is an unmistakable sense that you’re listening to Joe Doonan. More importantly, if you let it, his music has the ability to transport you somewhere filled with beauty and light—even when the subject matter confronts life’s harshest realities.


Listen here: "Hope" 


Research Further: 

Joe Doonan webside

Joe Doonan  Facebook

Joe Doonan Spotify

Joe Doonan YouTube

Joe Doonan Instagram


Review by staff at MBTM


 

Taking the Mask Off: Latifa Reeves on Music, Faith, and Finding Herself

There’s a rare kind of artist who doesn’t just sing about life—they’ve lived enough of it to make every word hit differently. Latifa Reeves is one of those artists. A soulful singer, songwriter, storyteller, and former co-frontwoman of Mama Said, Reeves brings together the raw honesty of rock, the grit of blues, the power of gospel, and the deep emotional pull of soul. Her music is fearless, intimate, and deeply human, exploring the messy, beautiful business of being alive.


After years of performing, writing, and connecting with audiences—including co-creating the children’s music and multimedia project Tika Tika Time—Reeves is now stepping fully into her own as a solo artist. Drawing from a lifetime of musical experience and a profound spiritual journey, she creates songs that don’t shy away from vulnerability—or hope.


She has a brilliant new single out, titled “Space,” and we’re fortunate to have had the opportunity to ask her a few questions about her career, music, and creative journey.


Latifa, you are a singer, songwriter, and storyteller. Which of those three feels most central to who you are?


Definitely singer. Words come second. Music has always felt like a transmission to me—something that comes from the deepest part of my heart, and I find a way to express it through melody and words. Singing is where I feel most completely myself.


What do you understand about songwriting now that you didn’t when you started?


That less is often more. I naturally want to unleash myself vocally, so I’ve learned the power of holding back. And the hook—the hook, the hook, the hook! I’ve also learned that singing right in the pocket can be just as powerful as sitting behind the beat and letting a big, soulful vocal fly.


Who first inspired you musically?


Aretha Franklin was one of my earliest inspirations. There was something effortless about the way she sang, but she carried all the beauty and power of gospel in her voice. As a teenager, I was always trying to emulate her.


What was your childhood like?


My childhood had both love and trauma in it, and there were things I internalized that were difficult for me to understand as a child.


Then I found singing. It became this place where I felt completely at home. Singing gave me somewhere to lose myself, but strangely, it also helped me find myself.


Were your parents musical?


My dad played harmonica, and my uncle played blues guitar, but no one studied formally, and there really weren’t singers in my immediate family. Music was around me, though, especially blues and Southern music, and I think more of it got into me than I realized.


Tell us about Mama Said. What kind of band was it, and why did it break up?


I started Mama Said with Jen and Derek. Jen and I had a kind of magic in our harmonies, and Derek is an incredible blues and rock guitarist. His playing always brought out a soulful place in me.


Around 2018, I remember saying, “Let’s write an album and start an original band.” Mama Said became so much more than I ever imagined. We made music I’m incredibly proud of, and leaving my best friends and creative partners was one of the hardest decisions I’ve ever made.


But there was a calling inside me that I couldn’t ignore. I needed to follow my own spiritual and creative path and return more deeply to my gospel, blues, soul, and Southern roots.


Sometimes you can deeply love something and still know it’s time to grow in another direction.


What do you miss most about being part of a band?


When you play with people for a long time, you develop an almost spiritual language together. You know where they’re going before they go there—when they’ll sing, play, or pull back. Eventually, it becomes like breathing together. I miss that.


What does this new solo chapter allow you to explore?


This chapter is about self-love and accepting myself without constructing an image around it. I’m taking the mask off and becoming less interested in who an artist is “supposed” to be.


Spirituality is a huge part of my life. I spend a lot of time in prayer and meditation, and I have a deep love for the Divine—for God. I don’t want to separate that woman from the woman people see onstage anymore. I want my music to transmit all of me.


What is “Space” about?


This past year has been about breaking attachments and creating enough space to hear myself without all the noise. I’m a mother of five, so I’ve spent much of my life in service to others. It feels like now is my time to create space for self-love and creativity.


Musically, I wanted the song to have space, too. I wanted intimacy and restraint, with room for the vocal and emotion to expand.


Has a song ever found you at exactly the right moment?


Yebba’s “My Mind.” That song kills me. Her voice is incredible, but it’s her vulnerability that gets me. She goes somewhere emotionally and lets you witness it. That’s the kind of truth I aspire to bring to my own songs.


How have your different musical chapters shaped you?


Mama Said showed me what I was capable of—big rock songs, big vocals, and the incredible chemistry that happens when musicians really lock together.


Tika Tika Time taught me simplicity, joy, and pocket. And my solo music is taking me back to my roots—sitting on the porch in Georgia, listening to blues, gospel, and Southern rock.


I don’t see them as separate versions of me anymore. They’re all pieces of the same artist, and now I’m letting them live in the same room.


What’s your philosophy on life?


Love is the highest vibration. Connecting with the Divine is how the road lights up for me. Whatever path you choose, let it lead you toward greater integrity, truth, and love.


What’s next?


Getting this music onto the stage. I’m putting my live show together now and getting ready to take it on the road.


After all the writing, recording, and discovering who I am in this chapter, I’m ready to get onstage, sing these songs, and connect with people.


Listen here: "Space"


Explore further:

Latifa Reeves Facebook

Latifa Reeves Spotify

Latifa Reeves YouTube

Latifa Reeves Instagram

Latifa Reeves TikTok


Interview by staff at MBTM



Om Mare Shangri-La by Karen Salicath Jamali

Karen Salicath Jamali is a multi-award-winning composer, pianist, guitarist, singer-songwriter, producer, and multidisciplinary artist whose music inhabits the space between neoclassical piano, classical crossover, and acoustic indie folk. To these ears, at least, her latest long-playing offering falls neatly somewhere between Bon Iver and The Velvet Underground. The latter is, of course, a rock ’n’ roll band, but it is specifically their debut album with Nico that provides such a compelling link between the two artists. There are traces of Paul Simon’s more artistically ambitious work on the album as well, adding yet another intriguing dimension to the album’s musical palette.


Jamali’s extraordinary musical journey began after a life-changing accident, head injury, and near-death experience, followed by three years of recovery. Although she had never played piano before, she suddenly discovered an ability to play and compose spontaneously. Entirely self-taught, she began recording the meditative music that became part of her healing—and soon began hearing new melodies in her dreams. Today, she has created more than 2,500 original compositions, performed eight solo concerts at Carnegie Hall, and reached audiences worldwide with more than 30 million streams and 142,000 followers. Quite a remarkable feat.


Her latest album, titled Om Mare Shangri-La, marks a departure from Jamali’s previous releases. A folk record built primarily around acoustic guitars and vocals, the album represents a new beginning for the artist. For the first time, Jamali steps away from the piano and takes center stage as a singer, making her voice the primary instrument—an instrument many would describe as the most intimate of all. 


And it’s all pretty remarkable stuff. No wonder Jamali has essentially created a genre of her own: Quintessence Music. It’s remarkably difficult to find anything quite like it on Spotify—or anywhere else, for that matter. And take it from someone who owns thousands of records: her sound is unmistakably her own.


Listening to Om Mare Shangri-La is less a conventional music-listening experience than a spiritual one. This isn’t the kind of record designed for the usual foot-tapping playlist. Commercial music it most definitely isn’t. Instead, these are deeply moving compositions that seem to flow directly into your consciousness, like a river of musical impulses, gently carrying you somewhere quieter and more introspective—music seemingly designed to soothe the soul.


And while “Seeds of God,” the most Velvet Underground-esque track on the album, is a particular highlight—with its eerie melody and ghostly whistling—the truth is that the entire record is compelling. From the rhythmic shifts and delicate orchestration of “The Ocean of the Seals” to the meditative, perhaps more elusive closing tracks, “Wild Birds Flying High” and “Falling Back in Eternity,” the album carries the listener through a shifting landscape of moods, states of mind, and emotions, ultimately leaving one in a profound state of self-reflection. And I mean that as the highest praise.


Another intriguing aspect of the album is the presence of Greek and Middle Eastern influences in both the guitar work and melodic language. Two particularly striking examples are “Only in Love We Are” and “Mary’s Song,” which display several hallmarks of dimotika—asymmetrical rhythms, melismatic vocals, and melodies rooted in a predominantly monophonic tradition. These elements add yet another layer to an album that continually reveals new textures and cultural echoes with each listen. 


While Om Mare Shangri-La is predominantly a folk record, as I’ve tried to convey above, it is also something much more. It is an intriguing artistic statement from an artist who appears to be at the height of her creative powers. For fans of folk and art rock, this record is not merely a sonic treat, but an unparalleled spiritual journey.


Enjoy.


Listen here: Om Mare Shangri-la


Explore further:

Karen Salicath Jamali website

Karen Salicath Jamali Facebook

Karen Salicath Jamali X

Karen Salicath Jamali Spotify

Karen Salicath Jamali Soundcloud

Karen Salicath Jamali YouTube

Karen Salicath Jamali Instagram

Karen Salicath Jamali TikTok

Karen Salicath Jamali Bandcamp

Karen Salicath Jamali Songkick


Review by staff at MBTM

 


“Going Up (To See Him)” by Garrett Anthony Rice


Some songs arrive as entertainment; others feel like an act of remembrance. Garrett Anthony Rice’s “Going Up (to see him)” belongs firmly to the latter category. As the lead single from Rice’s ambitious 18-track double album EQUINOX, it is an intensely personal piece of music—one in which decades of grief are finally given a voice.


The song is written as a tribute to Rice’s best friend, who tragically took his own life aged just 21 in Dublin in the early 1990s. The enormity of that loss hangs over “Going Up (To See Him),” but this is not simply a song about mourning. It is about the strange persistence of love: how someone can remain an emotional presence long after they have gone, and how grief can lie dormant for years before finding a way to speak.


Musically, “Going Up (To See Him)” has shades of James Blunt, as well as one of my favourite bands of all time, The Silver Seas. The song is very subdued, yet remarkably expressive in its approach. Everything is audible in the mix, with each instrument given room to breathe. This is about as far removed from Spector’s Wall of Sound as you can get—and I mean that as the highest praise.


The playing throughout is tasteful and restrained. I particularly love the economical use of the piano, which brings to mind those early-sixties Elvis Presley recordings and, of course, The Beatles’ A Hard Day’s Night. The drumming is spot on and really comes into its own in the outro, which, incidentally, is one of the most striking moments in the song. The chord structure changes noticeably here, giving the section a character that sets it apart from the rest of the track. The coda is also where the band really steps up its performance.


But of course, that's not all there is to the track. The bass is beautifully woven into what the bass drum is doing, as it should be, but it really starts to dance during the chorus. And before I forget—how about that wah-wah? A superb touch, if you ask me.


And don’t even get me started on the harmonies. They are terrific.


As the opening statement from the upcoming EQUINOX, the song suggests that Rice has created something much larger than a collection of recordings. This is an album shaped by memory, time and emotional reckoning, and “Going Up (to see him)” gives that journey its human face.


Listen here: “Going Up (To See Him)”


Explore Further:

Garrett Anthony Rice Facebook

Garrett Anthony Rice Spotify

Garrett Anthony Rice Soundcloud

Garrett Anthony Rice YouTube

Garrett Anthony Rice Instagram

Garrett Anthony Rice TikTok


Review by staff at MBTM