We Speak Music
Shawn Matthew ‘Work to the Beat’ – The Bass House Rebellion Has a New Leader
Shawn Matthew isn’t just breaking molds—he’s setting fire to them. With “Work to the Beat,” via 20k Leagues Records, the rising producer abandons his melodic house roots and dives headfirst into a volatile fusion of bass house, dubstep, and trap. This isn’t a reinvention—it’s a revolution. From the moment that opening kick smashes through the speakers, it’s clear this isn’t the Shawn fans are used to. It’s louder. Meaner. And absolutely electric.
The track is a Frankenstein’s monster of club genres. Gritty New Orleans hip-hop vocals swagger over snarling dubstep stabs, all held together by a trap-infused breakdown that feels like a riot waiting to happen. It’s not polished—it’s raw. Purposefully chaotic. And it works. Think Jauz’s aggression, Ship Wrek’s precision, and Odd Mob’s unpredictability, filtered through Shawn Matthew’s unrelenting creative vision.
What’s most thrilling isn’t just the track’s energy—it’s the risk. This is a daring departure from the dreamy progressions and lush melodies that earned Shawn his original following. “Work to the Beat” kicks the door off the hinges and challenges listeners to meet him in the pit. It’s not just a banger; it’s a challenge to the status quo of EDM.
The production here is impeccable, managing to feel grimy and refined at once. Every drop, every snare hit, every glitch feels intentional. It’s club music for the chaos generation—designed to shake your bones and hijack your heart rate. Whether it’s a festival main stage or a 3am warehouse rave, this one’s built to leave a crater.
With “Work to the Beat,” Shawn Matthew has declared himself not just a player in the game, but a disruptor on the rise. He’s carved out a lane all his own, and he’s speeding through it with no brakes. If this single is a sign of what’s next, the bass scene better buckle up.
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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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