We Speak Music
Meg Pfeiffer Releases Stripped-Back Acoustic Video for “Kill Me”
Singer-songwriter, producer, and visual artist Meg Pfeiffer has unveiled an intimate acoustic version video of her song “Kill Me,” offering a raw and unfiltered lens into one of the most emotionally charged moments in her catalog.
“Kill Me (Acoustic Version)” confronts the experience of working with someone in the music industry who fails to fully commit—leaving collaborators suspended both emotionally and professionally. Stripped of heavy production, the acoustic version places Pfeiffer’s arresting voice and piercing lyrics front and center, amplifying the song’s sense of vulnerability, frustration, and disillusionment.
At the heart of the song is a striking metaphor drawn from the true story of mountaineers Simon Yates and Joe Simpson, whose survival after a catastrophic climbing accident later inspired a well-known film. Pfeiffer opens the song with the line:
“We won’t survive this like Simon Yates and Joe Simpson,”
suggesting that her own experience felt even more unforgiving than the harrowing tale of endurance and escape.
Throughout the song, Pfeiffer weaves sharp, evocative imagery to articulate betrayal and instability, including the lyric:
“You switched sides like the weather in England. Now you’re with the liars who tell you all the wrong things.”
In the bridge, she distills the chaos of broken alliances into a single cutting line:
“Befriended a clown, now I gotta deal with the circus.”
The accompanying video mirrors the song’s emotional honesty. Minimalist and unadorned, it reflects Pfeiffer’s long-standing artistic approach—prioritizing truth over polish and emotional clarity over spectacle.
Meg Pfeiffer is a singer-songwriter, music producer, and video director whose work has reached millions worldwide. Her video productions have amassed over 200 million views, and her music has been streamed more than three million times on Spotify. She has performed in over 25 countries, captivating audiences with her sharp lyrical instinct, quiet intensity, and confessional live performances that often feel more like intimate conversations than traditional concerts.
Her early career caught the attention of Sony Music and Universal Music Publishing, where chart success came quickly. Ultimately, Pfeiffer chose independence, founding her own label alongside her husband, Italian fingerstyle guitarist Luca Stricagnoli. Now based in Nashville, the duo operate with full creative control and are both voting members of the Recording Academy.
Meg is known for her hands-on artistry—writing, recording, producing, mixing, mastering, and directing her own videos. Her discography spans from her 2006 debut Man from the Woods to expansive releases like Nope and Unsent, the polished pop-leaning Perspective, and her critically acclaimed album Red Wine Philosophy, a sixteen-track work praised for its patience, complexity, and emotional depth.
Over the years, Pfeiffer has received multiple international honors, including the Intercontinental Music Award, Global Music Award, Indie Songwriting Award, and several German Rock & Pop Awards, along with a Josie Music Awards nomination in Nashville.
With “Kill Me (Acoustic Version),” Meg Pfeiffer once again reaffirms her commitment to honesty over trends and freedom over formulas—delivering a performance that is as confronting as it is quietly powerful.
We Speak Music
Megan Burke Turns Personal Experience into Pop Catharsis on ‘Not All Men, Apparently’
Megan Burke’s debut EP Not All Men, Apparently arrives with a title designed to provoke conversation, but beneath its pointed framing lies a deeply personal collection of songs rooted in lived experience. The project sees the Irish artist tackling themes of heartbreak, deception and emotional recovery with an unfiltered honesty that has become increasingly rare within contemporary pop.
Produced by Hungarian hitmaker Áron Somody, the EP documents Burke’s journey through a series of difficult relationships, transforming private frustrations into universally relatable songwriting. Rather than presenting neat resolutions, the songs lean into complexity, examining the lingering impact of toxic dynamics while charting a gradual path towards self-awareness. It is this willingness to confront uncomfortable truths that gives the record its emotional weight.
Among the collection’s standout moments is Make Me, the focus track that introduces a welcome sense of levity. Written as a break from the darker material surrounding it, the song captures a more playful side of Burke’s personality, embracing independence and spontaneity without abandoning the candid perspective that defines the wider project. Its inclusion adds balance to a release that might otherwise feel relentlessly introspective.
Burke’s rise has been built largely on her ability to connect directly with audiences, amassing a substantial online following while earning notable milestones including a No.1 iTunes chart position and performances at some of Ireland’s biggest venues. With Not All Men, Apparently, she delivers her most cohesive artistic statement yet, confirming her status as a compelling new voice in Irish pop and a songwriter unafraid to tell difficult stories.
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