We Speak Music
Moore Kismet Releases “three little words” The New Single is A Vibrant Love Anthem for 2023

“three little words” is really about falling in love with or still having love for someone you know you shouldn’t be in love with, but you just can’t help it. With Valentine’s Day coming up, I know that a lot of people (myself included) may be spending it alone. I really wanted to make something that anyone could listen and relate to you because love is not an easy thing to find.” – Moore Kismet
As we ready ourselves for Valentine’s Day next week, the now 18-year-old visionary Moore Kismet drops their latest single “three little words” via Thrive Music/Virgin Music – listen now HERE via your preferred DSP. The vibrant love anthem features Anna Dellaria and is filled to the brim with colorful synths, crisp percussive hits, and a captivating and diverse sonic soundscape. The new single follows last month’s release of Moore Kismet’s 2023 showcase, SEE EVERY COLOR – a 23-minute mix that has them sharing some of the best music they’ve ever made and all unreleased – listen HERE. It also follows last fall’s glitchy uplifting single “Forte” and a high-profile remix of “All By Myself” featuring Alok, Sigala, and Ellie Goulding.
Moore Kismet is coming off an epic 2022 that included the worldwide debut of their widely acclaimed studio album UNIVERSE. The year saw the Southern California born and raised, non-binary, and pansexual producer, songwriter, composer, DJ, and artist rack up more than 20 MILLION streams, play massive festivals including Coachella, Bonnaroo, EZoo and Tomorrowland and headline their first ever tour. They’ve garnered support from some of the biggest media platforms in the world, were included in Billboard’s “21 Under 21” for a 3rd year in a row, graced the cover of Pollstar – the leading trade publication for the concert and live music industry, and they were interviewed by NPR’s The Takeaway for the show’s ongoing series “Black.Queer.Rising” – “highlighting Black Queer people’s impact on American culture and society.” In addition, Kismet’s music was sought after for TV and games resulting in syncs for HBO Max’s series Legendary, Disney+’s The Rookie, and Epic Games’ Fortnite while they were tapped to create original music for Marvel’s Snap launch.
Having risen to the top of the US electronic music scene at the age of 17 — the now 18-year-old is poised for another big year. Their unique production style and stage presence has always set Kismet apart from the crowd. With each breathtaking release, Moore Kismet never fails to think ahead of what’s next in the electronic music space and beyond. Listen to “three little words (ft. Anna Dellaria)” today HERE and you can catch Moore Kismet live at the confirmed dates below including their first ever London Headline show on March 29th at The Camden Assembly!
Confirmed Moore Kismet Tour Dates Below:
Feb 25 @ The Complex (Marauda) in Salt Lake City, UT+
Mar 25 @ Ultra Music Festival @ Miami, FL#
Mar 29 @ The Camden Assembly @ London, UK (FIRST EU HEADLINE SHOW)^
Mar 31 @ Melkweg @ Amsterdam, NE+
Apr 23 @ Ubbi Dubbi Festival @ Ft. Worth, TX#
May 19 @ Hangout Festival @ Gulf Shores, AL#
May 27 @ The Gorge Amphitheatre (Illenium 2 Day Pass) in George, WA+
May 28 @ Lightning In A Bottle Festival in Bakersfield, CA#
^Headline Date #Festival +Support

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We Speak Music
Anna Silverman Shines in Chekhov’s London Revival

The stage is set, the lights dim, and in just a few moments, a timeless classic unfolds. Chekhov in London is not just another adaptation of The Seagull – it is a daring, stripped-down reimagining guided by the singular vision of Victor Sobchak, a director with an uncompromising approach to theatre. This unique production, blending performance, documentary and personal reflection, challenges both actors and audiences to reconsider what it means to tell a story on stage.
At its heart, Chekhov in London follows three interwoven threads: a condensed performance of The Seagull, an intimate exploration of the rehearsal process, and revealing interviews with Victor and his cast. The loose structure allows room for spontaneity, ensuring that the final piece retains the raw energy of live performance. The result is an immersive theatrical experience that defies convention and highlights the director’s unorthodox methods.
It might be a short production , but within those few moments unfolds an intense scenario of The Seagull. The film fuses performance, documentary and behind-the-scenes insights, resulting in a fascinating work that feels at once theatrical and uncomfortably real.
At the center of this version is Anna Silverman in the role of Irina Arkadina. Unlike the more fragile, wide-eyed Nina, Arkadina is fierce, ego-driven and emotionally strong. Her character is a woman of status and pride but yet, beneath the surface, she is quite brittle. The film’s direction leans into that psychological tension, and Anna doesn’t shy away from it and in fact, she walks straight into the fire.
“I knew from the beginning this wasn’t going to be a conventional performance,” Anna reflects. “Victor didn’t want a polished, distant Arkadina – he wanted a woman trapped in her skin, in her legacy, in her relationships. There was no way to play her halfway.”
In this adaptation, Arkadina isn’t simply a supporting figure in her son’s tragedy – she becomes a central pillar of the emotional architecture. The scenes between her, Treplieff and Nina are structured to feel tight and unforgiving. From a visual perspective, the production chose to create a claustrophobic atmosphere, using close framings, low lighting and limited space. This wasn’t accidental – it was intentional.

“The idea was to strip away the distance – both physically and emotionally,” Anna says. “The camera is close. The pauses feel longer. There’s a tension that’s not just acted, it’s felt.”
For Anna, playing Arkadina came with its own set of challenges – not just technically, but emotionally.
“It was important for me to avoid turning her into a villain. She’s not cruel for the sake of it. She’s scared. She’s aging in a World that punishes women for being anything less than eternal. She’s trying to hold on to relevance, to love, to her past power and it’s slipping. I had to meet her there.”
Working with Victor Sobchak is not for the faint-hearted. Known for his intensity and no-nonsense expectations, he pushes actors into emotional terrain that feels almost unsafe—but never without purpose.
“There were moments I left rehearsal feeling completely stripped bare,” Anna admits. “Victor doesn’t settle for performance. He wants truth – even if it’s messy, even if it makes you uncomfortable. Especially if it makes you uncomfortable.”
This meant many scenes were approached with only minimal technical blocking and instead prioritised emotional improvisation. Anna’s performance, while deeply rehearsed, maintains a feeling of spontaneity – it is almost like we are watching her discover Arkadina for the first time, in real time.
Behind the performance was intense internal work. Anna immersed herself not only in Chekhov’s text, but in Stanislavski’s psychological approach, asking not just what Arkadina says – but why she can’t say anything else.
“You have to find where she lives inside you,” Anna says. “For me, it was about understanding what it means to be needed, but not nurtured. What it means to perform not only on stage, but in life.”
She also speaks of the moments when she doubted herself, at some points when Arkadina’s emotional contradictions left her feeling disconnected.
“It’s exhausting to play someone who won’t break, because it means you carry the weight of everything she’s holding in. As an actress, the real challenge was to show the cracks without letting her fully fall apart.”
The film makes the most of its minimalist structure – focusing entirely on the emotional triangle between Arkadina, Treplieff and Nina. There are no sweeping landscapes or dramatic scores. Instead, it’s the silence, the breath between lines, the glance not returned that builds the tension.
“That was Victor’s vision from the start,” Anna explains. “He wanted it to feel like there was no escape – emotionally or physically. Every word, every pause, becomes a battlefield.”

In the end, Anna doesn’t pretend the role left her untouched. Arkadina, she says, revealed more to her than she expected.
“I think the most painful part of playing Arkadina is how much I saw of myself in her fears. It’s easy to admire the beautiful parts of a character, but it’s when you recognise your own shadows in them – that’s when it becomes real.”
Chekhov in London may be brief in length, but it leaves a long emotional imprint. And Anna Silverman’s Arkadina is at its heart: proud and undeniably alive.
_______________________________
Chekhov in London” is a rebellion, a love letter to theatre itself.
Featured photo credit: Tom Trevatt
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