Meet Miss M, famously known as Lisa M, a trailblazer in Latin Urban Music hailing from vibrant Puerto Rico. With over 30 years of experience in the music industry, she has redefined the landscape of sound. Her journey into DJing began in 2005, and since then, she has captivated audiences with her eclectic mix of Tech House, AfroTech House, Organic House, and Minimal Deep Tech.

Miami served as her launching pad, allowing her to connect with renowned international DJs and electrifying clubs across the globe. Miss M's talents have graced iconic venues like Café Olé in Europe, where she held a DJ residency at the legendary Space Ibiza and the Discoteque in Barcelona. 

But her talents don't stop there—Miss M is also a skilled Audio Engineer and Music Producer, running her own record label, Pionera Music. She ingeniously blends percussion to create a distinctive Caribbean tribal sound that is uniquely hers. 

Driven by an undeniable passion for music, Miss M has an exquisite ear for track selection, making every session a memorable experience. Her continuous evolution in the music scene keeps fans and music lovers eager for what’s next. Each project and step she takes is a testament to her artistry and commitment to pushing musical boundaries. Get ready to be inspired by the sonic journey of Miss M!

Formed in Florida, Matchbox Twenty entered the world with a blockbuster -- 1996's YOURSELF OR SOMEONE LIKE YOU. The debut set spawned five hit singles -- "Push," "3 am," "Real World," "Long Day" and "Back 2 Good" and snagged an RIAA Diamond Award certification for U.S. sales exceeding more than 12 million to date. Thomas also raised the band's profile by co-writing and singing on Santana's Grammy Award-winning 1999 smash "Smooth." Matchbox Twenty maintained the momentum with MAD SEASON in 2000 and "MORE THAN YOU THINK YOU ARE in 2002, both of which went multi-platinum and continued to spit out hits such as "Bent," "Unwell," "If You're Gone," "Bright Lights" and "Disease."

But after three albums of hard work and equally hard touring, Matchbox Twenty was ready for a break. Thomas released a pair of Top 5 solo albums which contained several #1 singles, Doucette worked with his band The Break and Repair Method and wrote film music, while Cook led the New Left. The hiatus not only renewed Matchbox Twenty as a band but also seasoned the individual members even further as they came back together for 2007's EXILE ON MAINSTREAM, a greatest hits collection that sported six inspired new tracks which were co-written by the band for the first time ever and included their biggest selling single to date “How Far We’ve Come”. 

In addition to more than 30 million records sold worldwide, Matchbox Twenty has also earned countless accolades, including five Grammy nominations, four American Music Award nods, the 2004 People’s Choice Award for “Favorite Musical Group, and they were named “Best New Band” in the 1997 Rolling Stone Readers Poll.

After EXILE ON MAINSTREAM's Top 5 success, Matchbox Twenty continued the collaborative process as it headed towards NORTH. The romantic "Overjoyed," according to both Thomas and Doucette, was "the first time we felt like we had something special”. Kyle Cook took lead vocals on the incredible ballad "The Way," which he and Doucette penned together. "She's So Mean," meanwhile, represents a "storytelling exercise" during which Thomas, Doucette and Cook sat around a microphone free styling lyrics that they eventually sculpted into the cautionary tale about a hard-to-handle woman who Doucette promises bears no similarity to anyone in the group members' real lives. Listening deeper to NORTH reveals even more different nuances, approaches and feels because of the group-writing dynamic.
 
"Matchbox Twenty is pretty all-encompassing," Doucette says. "Once it gets rolling, we just devote all our time and energy to that. I can speak for everybody on this; it's the thing we hold the most dear because it's the thing we built the longest, so we want to give it its due. We don't make records that often anymore, so when we do we want to devote our time and energy to not only doing it; but also bringing that music to the fans."

Cuban-born and now a resident of Paraguay, Alex AQ, has been making waves in the Latin American dance music scene since the 90’s. Schooled in hip-hop and breakbeat, he began his venture into music in La Havana playing at different block parties and clubs there.

Having moved to Paraguay where he co-created clubs such as FDM and the renowned Sequence, Alex helped to spread the House and Techno gospel booking artists such as Marcel Dettmann, Ryan Elliott, Sterac, Fjaak and the likes in a country who was opening its eyes and ears to dance music. There he honed his craft on handling the dancefloor playing an eclectic mixture of electronic music, as well as developing his studio skills which resulted in releases for labels such as LPZ Records, Valvula Records, Sprout, Evasive Records, Silence In Metropolis, ExpMental Records and his own formed SQNC Records.

Founded in June 2015, Service is creating the future of customer service. We have a crazy idea-- we think that customer service should be a simple and painless process. We've all been in phone tree hell, shouting at an automated system that can't seem to understand any thing we have to say. We've got a better system. What if, instead, you could reach out and have someone else handle the issue for you? Through a combination of machine learning and human agents, we're working to create a total breeze of a customer service experience that's memorable for being empathetic and simple, not for the hold music that gets stuck in your head for days after you hang up the phone. 

We believe in thinking outside of the box when it comes to customer service, and we're gathering expertise from across the industry to share insight on new and creative ways to implement amazing service. Check out our podcast, Please Hold, for tips, tricks, and lessons from leaders in the field of customer service. Got a question? An incredible idea for an episode? An awesome suggestion for someone in the field that you'd love to hear from? Reach out to us at feedback@getservice.com. We'd love to hear how we can help you grow the greatest customer experience out there. 

Bookings: info@audiorehab.co.uk

Born in the sleepy market town of Bishops Stortford and growing up in Harlow, Mark Radford’s story will speak to many aspiring producers and DJs whose interest is piqued by a scene far-flung from their immediate surroundings. The pull of dark and sweaty rooms drawing them closer and closer to the nearest city where stacks of speakers and the siren’s call of undulating basslines seem almost irresistible. It’s in those rooms that Mark Radford found his path in life, enveloping himself in the music and culture at the beating heart of London’s electronic music scene.

Mark’s history stretches back to the early days of acid house, rave and jungle and he counts DJs like Randall, Grooverider and Jumping Jack Frost at the forefront of his musical stimuli. “Watching these guys create a new genre of music was amazing,” he explains, alluding to their experiments in music and willingness to push new boundaries, exposing the public to a dearth of home-grown talent as a great inspiration to him. A testament to that outlook is Mark’s record label, AudioRehab. Widely recognised as one of the capital’s most influential underground labels with its own residency at the legendary Ministry of Sound, and a burgeoning roster of artists AudioRehab was born from Mark Radford’s desire to harness and expose fresh talent.

And that desire has undoubtedly been realised, with the labels dropping over 160 releases from some of the hottest underground talent around since 2012. 

Not only does Mark run one of the hottest labels around, he has garnered a reputation as one of London’s most cutting edge selectors and an accomplished producer in his own right. Working with vocalists and expanding his musical horizons has become a point of focus for Mark over the past few years, and listeners to his Radio shows will undoubtedly have noticed how many new and unfinished tracks and collaborations he drops; almost always with the cheeky line “It’s nowhere near finished, but I thought I’d drop it anyway.”

This is Mark Radford’s strength, his passion for sharing new music and new sounds with people. Amongst a multitude of artists who circle round and round, never daring to head in a new direction, here is a DJ, producer, promoter and label owner that stands out from the crowd. Much like the acid house and rave pioneers he references as his earliest influences, Mark Radford is focused on evolution, not revolution.

Whether you check his show on House Fm dance the night away at one of his parties or drop his records in your own set, Mark Radford’s influence on the underground music scene is keenly felt and should not be underestimated.

The Last Men. Indie/electro/experimental act based just north of london: 
"The Last Men
LESS than 12 months after forming, Stortford electro-indie gang The Last Men have capitalised on some spellbinding gigs with the release of their debut EP.
The Last Men
The eponymous four-track effort, which is out now on iTunes, is a thoroughly polished vehicle for their songwriting and sets one heck of a benchmark for new unsigned acts to meet.
With its lumbering, insistent guitar groove and rousing singalong chorus, opener Fuzzy Cuzz wouldn’t sound out of place as a summer hit on alternative radio, while vocalists Alex Bayly and Bella Chipperfield duet sublimely on the more atmospheric, laid-back Hold You There.
Since forming late last year, the quintet have made a sizeable dent on Stortford’s live scene and in the capital. On top of packed gigs at Club Blub and this year’s Stortford Music Festival, they’ve played The Monarch, Nambucca and the Camden Crawl festival.
They’re playing at Cazfest this Sunday (July 3) and are even booked in for a second BBC Introducing… live radio slot following an impressive first outing.
To find out more, see www.thelastmen.co.uk – and visit our Observer Sessions music channel for video from their Stortford Music Festival set."
HERTS ESSEX OBSERVER
"Music, just like life itself, evolves. Moving freely from genre to genre, form to form. In the early years of this decade if you weren’t wearing skinny jeans and a low-cut vest top, hanging round Camden nightclubs, smoking roll-up cigarettes you weren’t a cool band. Countless bands sounding like The Strokes and The Libertines started to emerge and soon took over the whole music scene. But like I said, evolution soon kicked in. From the roll-up cigarette smoke a new type of indie music started to surface, it was more dance-able and had strange beautiful noises, oooh!
I logged on to the online unsigned-music streaming sensation that is Myspace (and a little bit of Facebook) to hear a band from down Essex/Herts way. Misleadingly called The Last Men, this 4 piece Indie electro band comprise of four last men and one last woman and, from what I’ve heard, are making fantastic music!
So what have this new, cool band got to do with that old-timer rant you had at the beginning of the article? I hear you shout. Well, their music is a new twist on that danceable-indie loveliness we’re used to from bands such as Bloc Party and MGMT which is the way indie music started to go. I only got to hear two tracks up on their profile, the track Napalm dream offered everything in the way of effect-filled guitar and fast rhythm that gets your head bobbing and although it was well written and well produced it wasn’t anything I hadn’t heard before. But before I discarded them as another band joining the dance-indie movement a few years too late, I listened to their other track they have available The Cycle, which really made me sit up and listen. Following this up with a video on their Youtube page of a live performance of the song New Life I started to see The Last Men as very accomplished songwriters and musicians with an interesting sound that I’m starting to love.
The Last Men could be Fantastic! I wanna hear some more!
I can see they are really interested in writing good music. I can see obvious influences, bands such as Bloc Party, maybe a hint of The Yeah Yeah Yeahs but also influence from legendary songwriters such as Bruce Springsteen. Their songs have this delightful way of drawing you in before erupting into an explosion of sound. They’re a promising band with brilliant song-writing skill. A quality that has also been noticed by Absolute radio and BBC introducing radio – just a couple of places The Last Men can boast about having their music played.
They’re doing everything right for the current music environment, they’ve found a new interesting sound and manage to perform it better than most bands I’ve heard of this nature. They’re promoting themselves well, with professional photoshoots and online presence. With the opportunity of playing on larger stages with some bigger names I think The Last Men could be Fantastic! I wanna hear some more!"
NEW BEATS MEDIA



The self-titled debut from Overseas is a dreamy waltz of foreboding and reconciliation, a coin flipping head over tails in spotlight slow motion, landing briefly on its edge before accepting that it’s both sides at once if it’s anything at all.

For the first few songs, the band’s sound is wide open, immediate and full of wonder. Will Johnson warbles impressionistic, as if glancing skyward on one of those alive-awake nights where the almost-full moon seems three times its normal size.

But then a few tracks in, the record’s gaze narrows, spinning you back inside yourself. As always, David Bazan challenges us to challenge ourselves, diving fearlessly into the mundane darkness to ponder subjects and situations from which most of us would rather run. “Bank on the future, box up the past / Bury the questions you don’t want to ask,” he later harmonizes with Johnson on “Came with the Frame.” But you can’t always take Bazan deadly serious. Sometimes he’s a sardonic comic; Morrissey’s evil twin, bloody bit tongue swollen firmly in cheek.

Overseas is truly collaborative music made by old friends—Johnson of Centro-Matic and South San Gabriel, Bazan of Pedro the Lion and Headphones, and brothers Matt and Bubba Kadane of Bedhead and The New Year. In these songs, you can hear them losing themselves in the moment, grabbing hold of fleeting ideas, holed up in the studio in the sweltering Texas night.

To hear Johnson & Bazan—such distinct, singular voices—trading tunes on the same record is a powerful experience, Will all sighing yang to David’s self-reflective yin. Not to mention the latter’s understated bass playing, the former’s melodic drumming, and the subtle yet brilliant invention of bandleaders the Kadanes, who steadfastly pump the bellows that fuel the group’s creative fire, bringing its songs to life with their intuitive musicality. In collaboration, this quartet is tasteful, egoless, the collective emotional impact of their work always crater-deep. It’s a manifestation of the trust, camaraderie and mutual respect that comes with their enduring friendships.

“How long have I known Will?” Matt says. “Well I’m a year or two older, and I remember buying him drinks when he was underage. So I’ve known him at least that long.”

Back in the early ’90s, Johnson and the Kadanes were lighting up the Dallas underground in their respective bands, Funland and Bedhead. A decade later, both camps independently befriended Bazan. For Matt and Bubba, it was in 2002 when David played five solo dates opening for The New Year on a West Coast tour. Just a few years later, Will opened several shows for Bazan, and ended up joining him, Vic Chesnutt and American Music Club’s Mark Eitzel in the critically acclaimed Undertow Orchestra. Johnson also toured as The New Year’s third guitarist in 2008, and Bazan had been geeking out on Bedhead since he was a teenager. The foursome’s web of connections is vast and tangled, so when the idea of a collaboration came up, all were enthusiastic. Their beginning, though, was unexpectedly somber, cathartic and prolific.

In the last week of 2009, just days after the death of Johnson and Bazan’s friend Vic Chesnutt, Overseas met at Denton, Texas’ Echolab studios for their first recording session. “I don’t think it was any accident that we got together right after Vic passed,” Johnson says. “In some ways, it was a spiritual passing of the baton from all of the good energy of the Undertow Orchestra. It was a challenging time, but it was a cleansing experience to get back into the studio and get to work on something unknown and exciting.”

Johnson, Bazan and the Kadanes had originally hoped the sessions would yield a limited-edition 7-inch or tour EP, but when all was said and done, they walked away with the skeletons of 12 new songs. “We trusted each others’ instincts,” Bubba says. “It was all pretty effortless. Of course, there were issues to work through, but nothing was ever a big deal, conflict-wise. We were all very much of one mind.”

While another year would go by before they’d begin the three-year process of fleshing out tracks in fits and starts, Overseas was now a full-fledged band. From the beginning, collaboration was the focus, so most songs were brought in unfinished, and several were culled straight from what the group dubbed its “thin-air jams”—spontaneous studio improvisations that were mined later for song material. “It’s not an approach I use often,” Johnson says. “It was thrilling, and kind of a brain scramble at times. But in the end, I feel like the record accurately represents the varied musical colors of all four people. It aptly displays the feathers of the bird.”

Each member of Overseas can write songs, sing and play a variety of instruments, so the project could have gone in countless directions. Once they started recording, though, certain natural roles emerged. Bubba praises Bazan’s knack for spot-on gut instinct. Bazan, in turn, deftly sums up the rest of the band’s contributions: “Will does his homework most thoroughly beforehand. There’s a neanderthal energy and abandon with him behind the kit. And when it’s time for really fine, specific lyric work, he’s game for that, too. Bubba is the overseer, the taskmaster. In the moment, he won’t always come up with his final part, but if you give him some time away from the group, he always figures out a way to add that last 15 or 20 percent that pulls everything into focus. And Matt is the musical genius—he plays piano, guitar, bass, drums. There isn’t anything he can’t do well.”
While the Kadane brothers helped with lyrics and melodies, they were adamant that Will and David handle all vocals. “I’d played just drums or keyboard in a few bands,” says Matt, “and to me it’s much more fun when you don’t have to sing. And Will and Bazan have incredible voices, so that was covered.”
Also, coming from their various projects, each member of Overseas is a gifted producer. “And if you count [engineer and Echo Lab partner] Matt Barnhart,” Johnson says, “there were really five producers who, quite fortunately, see things in a similar way and speak the same language.”
“It should be said that Matt Barnhart is really the fifth member of Overseas,” Bazan adds. “I don’t think we’d make another record without him. And it should also be said that Tex-Mex is the sixth member of Overseas. Those Kadane brothers are waaaaay into Tex-Mex.”

While Overseas’ simple, daring new record begins outwardly with marvel at the world, a large part of its journey takes place across a single point in space. One holy, meaningless vertex. The battleground within one’s self. About two-thirds of the way through, when the gravity of Bazan’s reflection builds to a point of nearly overwhelming tension, Johnson slips back in through a crack in the dawn, acoustic strums gently closing third eye as we leave inner space. Serene. Like the first moment of clarity in the wake of a heady, cacophonous acid trip. All this now in the rearview, the record momentarily, fittingly, blasts free with “The Sound of Giving Way,” a big, symphonic, time-halting tune that would sound gorgeous cascading around an arena.

But before things get too untethered, the band lassos it all back to the quiet pondering of everyday routine. To doing the dishes, which has always been a philosopher’s job. Overseas makes the mind wander—it is an unconscious, spontaneous, understated treatise on passion, identity, love, lust, God, forgiveness, family, rock & roll and the road.

And when the last song, “All Your Own,” scrolls, there’s a taking stock, a sweeping out of ashes. There you are, soot-faced, ready for whatever’s next. Which is good. Because Overseas is already working on a new record.

###

Max Collins – Vocals and Bass
Jon Siebels – Guitar
Tony Fagenson – Drums
 
Eve 6 weren’t even legal drinking age when they were presented with their first platinum record. Thus, life came hard and fast at the members of SoCal pop-punk trio, whose meteoric success in the late ‘90s and early millennium ingrained their anthemic radio hits into the fabric of the lives of a whole generation. Then, it all sort of ended…until now.
 
Reunited and re-energized, the band is returning with new album Speak In Code eight years after parting ways in 2004.  As the fourth full-length release for Eve 6 and their debut on new label Fearless Records, the album heralds not just a return to form for the threesome, but a new chapter in a book that had ended all too abruptly.
 
“Overall I'm really proud of it, and I think we're doing right by our fans, who’ve waited a long time for us to make another record. I think we're giving them something they'll enjoy,” says singer/bassist Max Collins. “Once we got in the studio there was a lot of energy. There aren't any filler moments; each song has its purpose. This is the strongest collection of songs we've ever had on one record.”
 
Eve 6—which also includes drummer Tony Fagenson and guitarist John Siebels—formed in Southern California in 1995 while the trio were just teenagers, then inked a deal with RCA Records before they’d finished high school. The band issued the self-titled Eve 6 in 1998, attaining platinum success with hit singles “Inside Out” and “Leech,” the former capturing the #1 spot on the Modern Rock charts and crossing over successfully to Top 40 radio. More widespread recognition came with gold-selling sophomore effort Horrorscope (2000), which spawned radio gems “Promise,” “On The Roof Again” and the ubiquitous prom and MTV anthem “Here’s To The Night”.
 
It seemed like Eve 6 were everywhere—the band made appearances on The Tonight Show with Jay Leno, The Late Show with David Letterman, Jimmy Kimmel Live, Late Night With Conan O’Brien, and TRL with Carson Daly, with their videos in constant rotation on MTV. The band then released the more experimental It’s All In Your Head in 2003, featuring singles “Think Twice” and “At Least We’re Dreaming,” but parted ways with RCA thereafter. Their rapid rise to prominence at an early age had led to an inevitable mental and physical exhaustion, and in 2004 Eve 6 announced an indefinite hiatus. It was time to turn a new page.
 
“There were parts which were fucking incredible, and amazing and awesome, and there were aspects that were terrifying and freaky that you don't know how to handle. I feel like we did some growing up in public,” says Collins. “I needed to stop drinking. In order to do that, the wheels had to come off. I don't think I could have done it if the band was still going.”
 
After a year apart, Collins and Fagenson began writing and producing for other artists, including 2007’s hit ballad “We Don’t Have To Look Back Now” for rock band Puddle of Mudd, and collaborating on a new experimental side project, the Sugi Tap. "It was an inspiring time, going down different musical avenues together and trying things we wouldn't have in Eve 6,” reflects Fagenson. “Ironically, when we did reform Eve 6 a couple years later, those experiments allowed us to progress the sound of the band more freely than if we had been in the band the whole time."
 
Collins and Fagenson eventually reignited Eve 6 in 2008, with guitarist Matt Bair temporarily replacing Siebels who was occupied with his project Monsters Are Waiting. The band spent the next two-plus years touring, writing and reconnecting with fans, then in 2011, armed with new material and management, signed with Fearless Records. A month within inking the deal Collins and Fagenson finally convinced Siebels to return to the fold.
 
“After going down some different paths it hit me that there was this thing out there that people wanted and wanted to hear,” explains Siebels. “It just clicked and made sense to me.  After such a long break I was so happy to be playing with these guys again.”  Continues Fagenson, "The way [Siebels] hits the strings and puts that muscle into the chords is very distinctive to our band, and that was a welcome piece of the sound that we had missed.  Songs that had been kicking around for a couple years got new life with his playing put into them.” 
 
Eve 6 then re-enlisted Don Gilmore (Linkin Park, Dashboard Confessional, Good Charlotte, Pearl Jam)—who produced the first two Eve 6 full-lengths—to helm the sessions for Speak In Code. With all the lead time, the album contains a mix of compositions that began as far back as the side project, as well as recent works written in the months leading up to the recording process.  “We were really taking a ‘best of everything’ sort of approach, almost like a band's first album, in which there's a lot of material to choose from,” Fagenson notes. “About half the songs were standouts from what Max and I had been working on and demoing over the years, and the other half were newer ideas that came with the inspiration of Jon's return and all that was happening to us at the time.  We have a unique process, where each song is sort of its own animal. Don was crucial in helping us tighten everything up, and inspiring Max to dig really deep lyrically and get to some root emotion down there.”  Explains Collins, “Neil Finn [of Crowded House] once said, ‘A great producer is someone whom you admire musically and otherwise, who you feel compelled to show up and show off for.’ I feel like Don is that figure for me and the band.”
 
In many ways, 'Speak In Code' is a work with deep personal significance for Collins, who has weathered his share of personal adversity. The album is a testament to coming out okay on the other side, with friendships still intact, but it’s within the journey that the story truly lies. Whether it’s romantic relationships or dealings with his bandmates, communication—and its barriers—is a central theme underpinning the release.
 
“In some of the songs frustration is a theme. I was sort of looking at difficult personal relationships with a humorous spin in some places, and with more earnestness in others,” explains Collins. “The title [Speak In Code] is a lyric from ‘Curtain,’ and there was something kind of evocative about it. In that song, I'm referring to being newly sober and just feeling like an open nerve, feeling freaked out, having people and life being sort of overwhelming. It's almost like people are speaking a language you don't understand.”
 
Opening track “Curtain” is a pivotal moment for several reasons—not only does it provide a title concept, but it also speaks to the group’s return from hiatus, drawing on the relations between the notoriously volatile Gallagher brothers from Britpop icons Oasis. “There was a lot that I could identify with there,” Collins says. “Being in a band is like a marriage; it's like a family. You're in the trenches with these guys, and sometimes it's easy and awesome, and sometimes it's not so easy.”
 
First single “Victoria” lyrically weaves a tale that draws the listener into a hook-laden, 80‘s-influenced anthem, putting a contemporary spin on the classic Eve 6 sound. “[‘Victoria’] indulges this paranoid what-if fantasy that kind of has a foot in the truth: My wife went on this girls’ vacation to Mexico, and when I was looking through the photos, I saw my imagination start to go, and wrote that song,” Collins recalls. “I'm convinced in my mind that something’s going on that really isn't.”
 
Far from being just some nefarious nostalgia cash-in, 'Speak In Code' is a genuine example of triumphing over one’s obstacles, both professionally and personally, seven years in the making. Eve 6 say the time rebuilding was essential to regaining their footing, which seems more solid in 2012 than ever. "In a lot of ways, the years leading up to this album release was a bit of a ‘paying our dues’ situation. We certainly had to earn the right to have this opportunity again,” says Fagenson. “This time around I think we realized just how hard it is to really get a rock band going and just when you think you're near the finish line you realize there's another hundred miles to go. But all that work and time simply strengthened our belief in what we were doing, and it was a crucial aspect of our development. It really taught us about stick-with-it-ness and perseverance."
 
"The time we spent apart really made us appreciate what we have in each other. It's a chemistry you can't manufacture,” adds Collins. “We literally grew up playing music together. The bond that we have as a result of so much shared experience infuses the sound of the band."
 
With 'Speak In Code' slated for an April 24th release, the band is gearing up for their much-awaited reintroduction to fans. Now part of the Fearless Records family, it’s a guarantee Eve 6’s music will reach a wide, eager audience of potential devotees, and a full slate of touring behind the release is slated for 2012. Diehards who caught the band live in prior years will undoubtedly be thrilled to see the trio once again on stage, but it will be a somewhat older, definitely wiser group that greets them. According to Collins, it’s all good.
 
“We’re looking forward to playing new songs, and reconnecting to the fans with new material,” says Collins. “I feel this profound gratitude to the other two guys in my band. We've been through a lot—we've had the mountaintop moments and the Death Valley moments—and we're still here today, we all get along, and we made this thing together. It's almost miraculous, to me. There's this convergence that goes on for something that's bigger than the sum of its parts, and that's such a joyful, cool fucking thing.”

Chubby studied Music at Natal University Durban camps
(Diploma in Social Science), inspiration came from being selected in high school to be in the school choir and also selected to sing for the Natal youth choir.
Music has always been her first love, she learnt how to write and sing at a tender age with an inspiration from her late uncle (Joy white) who sang long side Ray Phiri, Stimela etc...
Chubby left the music industry through fear as she entered into that environment at a tender age but never lost the love and passion for it. Ventured into the It industry that opened a lot of doors and opportunities for her.In 2013 Chubby then decided to leave work and concentrate on her business, made her way back into the entertainment industry but as an Event manager doing corporate events, promotional events and gigs. She was approached to come work at one of the most well-known outlets in Soweto Vilakazi called Kwa-Lichaba as part of the Events team. She then saw an opportunity and a need to create a movement of Kwaito music. Chubby then came up with a concept called Dlala Mapantsula movement of old school music and made Mapaputsi, Jakarumba and Alaska the face of Dlala Mapantsula. The movement has been a success so far and the brand is growing.
Chubby as an Artist.
A gift never dies but grows. Chubby feels this is the right time to make her mark in the industry, she carries with her a vest experience in the industry as an artist and also as a leader. She knows and understand business ethics, business management, business analyst, business processes and business principles. Her music and sounds also speaks for itself.
Early 2018 She meet Mr Buddy Buddy (ProT) started working on her music and made a lot of songs that landed her at BlazaBhu recordz , first project that she worked on was her Single which was put on hold and worked with DJ Flexi’s song Zinhle where Chubby was featured as a vocalist. In December 2018 Chubby collaborated with three artists and formed a group called The Multi-Talented.
The Multi-Talented is a group of four artists with different background of music and style, they came together and formed one unique sound and Chubby being the main leading vocalist and the only female in the group. The Multi-Talented are busy promoting their first single called ‘The Bar around the corner ‘, this single has gained the group a lot of recognition and attention to the industry.
2019 Chubby is been working on her single and a book both titled Power of a Woman which will be release on 08th October 2019 on woman’s month.

inst , Fb, Twitter : @chubbyhereiam

Renita Dexter is following