Summer is in full swing, pop music is in overdrive, and Bianca and Julian are back with one of their biggest episodes yet. Before anything else, they kick things off with an exciting announcement about the future direction of Anything But Toto—and what listeners can expect from the show going forward.

First, they catch up on life lately: Bianca reports back from seeing Tame Impala twice in Toronto (with Djo opening), and the duo shares their thoughts on recent films, including The Invite and The Odyssey.

Then it's onto the main event: a deep dive into the state of pop music in the spring and summer of 2026.

Bianca and Julian begin with Gracie Abrams' third album, Daughter From Hell, unpacking its lyrical perspective, sonic evolution (or stagnation?), and the ongoing conversation surrounding her creative partnership with Audrey Hobert. From there, they tackle Charli XCX's Music, Fashion, Film - a record preceded by two years of expectation management and one that raises bigger questions about artistic reinvention, the 2000s pop rock revival, and whether form can outweigh substance.

Next up is The Strokes' Reality Awaits, perhaps the most divisive release of the season. Is it a bold, high concept experiment or simply autotuned slop? Bianca and Julian weigh both sides before giving their verdict.

Finally, they close things out on the dance floor with reviews of Madonna's Confessions II and a quick discussion of Slayyyter's upcoming Worst Man in America.

Whether you're looking for album reviews, pop culture analysis, or an unreasonably long conversation about the biggest music releases of the spring and summer, this episode has you covered.

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This month, Bianca and Julian return to the first artist they ever reviewed - singer-songwriter Olivia Rodrigo, and her third album "you seem pretty sad for a girl so in love".

But first, they catch up on some current events, including Paul McCartney's Wings-inspired new album, "The Boys of Dungeon Lane", and Taylor Swift's #1 hit contribution to the Toy Story 5 soundtrack - "I Knew It, I Knew You".

Then it's all in on Olivia Rodrigo and her new record. Bianca and Julian discuss her lyrical perspective, vocal abilities, and musical nods to other artists (*ahem* The Cure...). They also delve into her falling out with Taylor Swift, her upcoming festival Daisy Chain Fields, and her position as The Voice of Gen Z Angst.  

Is this album Cure cosplay? Is the talk singing overdone? Is Brandi Carlile trying to sneak into various celebrity wills? Listen to find out!

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Theme song by Daniel Konikoff

Dusty roads stretch west, the speaker crackles, and Bianca and Julian saddle up for an unexpected detour - Anything But Toto goes country.

In this episode, they put their long-held assumptions about the genre to the test with a blind review of the five biggest country songs currently dominating the charts. For two self-professed skeptics of Nashville’s clichés, political baggage, and bro-country stereotypes, it’s an experiment in open-minded listening. Will they strike gold... or just more rhinestones in the rough?

Before riding west, they catch up on some current events: the release of The Lemon Twigs’ new album Look For Your Mind! and their bizarre Toronto concert experience, which sparks a broader conversation about concert etiquette and social awareness. They also discuss the backlash surrounding Harry Styles’ Together Together tour controversy, and celebrate the ongoing Canadiana cinema renaissance, with love for films like Nirvanna the Band the Show the Movie, Mile End Kicks, and Blue Heron.

Then it’s onto country. Bianca and Julian unpack their history with the genre, from observing the suburban millennial migration away from hip-hop and toward country, to the political and cultural forces that may have shaped that shift. Along the way, they revisit some of their favourite country-adjacent songs and trace the genre’s many stylistic branches - from California country to polished pop-country crossovers, with stops at everyone from Glen Campbell and Eagles to Shaboozey and Taylor Swift.

And then comes the main event: the Billboard Top 5. What begins as a broad review quickly becomes an unofficial review of Ella Langley’s singles, with appearances from Stella Lefty, Luke Combs, and Kacey Musgraves along the way.

Do they find the needle in the haystack? The diamond in the dust? You’ll have to listen to find out.

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Bianca and Julian are back for Episode 31 — a deep dive into Slayyyter’s WOR$T GIRL IN AMERICA.

With this visual album generating industry buzz, they take on what might be the heaviest album they’ve covered yet; it’s apocalyptic, metal and ironic, and somehow still fun. But does Slayyyter’s vision fully land?

Before getting into the album, they catch up on current events: they break down Coachella 2026 — from Sabrina Carpenter’s ambitious set (and its pacing issues) to Justin Bieber’s polarizing laptop set. 

Then it’s all Slayyyter. Bianca and Julian explore what makes her such a compelling, DIY voice right now: the financial anxiety, the cinephilia, the “sunshine melancholy,” and her ability to turn hyper-specific experiences into something strangely universal. They unpack her concept of “party in the face of hopelessness,” her fascination with 2000s iPod music, and why that recession-pop aesthetic feels eerily perfect for the current moment.

They dig into her songwriting, vocal performances (and character voices), production choices, and visual world, including the influence of David Lynch’s Inland Empire. Along the way, they ask the big questions: would Karl Marx have loved Slayyyter? And how does Bianca really feel about Tate McRae?

So charge your iPod, press play, and “dance like it’s the apocalypse.”

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Anything But Toto has entered its dirty thirties!

To celebrate, Bianca and Julian dive into a full-length, in-depth review of Harry Styles’ fourth solo album, Kiss All The Time. Disco, Occasionally. 

But first, a quick detour into the headlines: a string of Chappell Roan controversies and what they say about boundaries.

Then it’s onto Harry. Is this album a trend-chasing identity crisis or a bold statement? Bianca and Julian unpack the record as both experiment and homage, tracing its sonic lineage (with special attention given to LCD Soundsystem) while questioning whether Harry fully commits to new wave and dance rock’s emotional and vocal demands.

Over the course of their review, they also discuss concept albums, “musical geographic universes,” the importance of vocal expressiveness in new wave, and (somehow) cartoon villains and “popping” kneecaps. Also covered is Harry’s One Night in Manchester concert film, his BRIT Awards dance, and the controversy surrounding the Together Together tour.

As always, the conversation goes beyond the music itself: what does this album reveal about Harry’s brand, his artistic instincts, and his place in pop right now?

It isn’t quite “spiritual experience on a Berlin dance floor”, but it gets close!

Follow Bianca’s new Substack, “After Hours”, and read her first article “My Formal Resignation as an OG Harry Styles Fan”: https://biancatomori.substack.com/p/my-formal-resignation-as-an-og-harry?r=45y62n&utm_campaign=post&utm_medium=web&triedRedirect=true 

What do you think of this album? Let us know at [email protected]

Theme music by Daniel Konikoff

Rock music may be absent from the Grammys stage, but is it actually making a comeback?

In this episode, Bianca and Julian ask a simple question: is 2026 the year rock re-enters the mainstream? After noticing the genre’s total disappearance from Grammy broadcasts, they put Bianca’s bold prediction to the test with a curated list of ten recent rock songs they can’t stop playing. The only rules: no artists previously covered on the show, all somewhat new artists, and all recent releases.

From the midwest slacker energy of MJ Lenderman, to the emotional gut punch of Hayley Williams, and the hardcore-by-way-of-Gwen Stefani sound of Turnstile, they make the case that guitars are far from dead.

Before diving in, they catch up on a few current events: head scratching moments from the 2026 Grammys (including the eligibility debate around Billie Eilish's Wildflowers and the lack of a proper tribute to Brian Wilson) and highlights from Bad Bunny’s stellar Super Bowl performance.

It’s part culture check-in, part rock manifesto - and a reminder that just because something isn’t televised doesn’t mean it isn’t thriving.

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Theme music by: Daniel Konikoff

Bianca and Julian are back with their first episode of 2026....which ironically is a deep dive into one of the most talked-about pop releases of 2025: Lily Allen’s West End Girl.

The episode opens with some scene-setting - pop music predictions for 2026 (is 2010s nostalgia closer than we think?), plus an explanation of the Khia Asylum and who currently resides there. From there, the focus turns to West End Girl, Lily Allen’s viral fifth studio album, which has already been compared to such classics as “Jolene,” “You Oughta Know,” and “You’re So Vain.”

Bianca and Julian revisit Lily’s career and public image, from her early hits and tabloid notoriety to her lasting influence on the pop girls of the 2020s. They also discuss her marriage to David Harbour - including that unsettling AD house tour - before moving into a track-by-track breakdown of the album. Along the way, they propose a central idea: that West End Girl is built around a tension between the classical and the contemporary, reflected in its themes, sound, and packaging. The conversation broadens to include the history of concept albums and what it means for a pop record to be this cohesive.

Why don't more celebrities talk about mortgages? What the hell is a "medicator"? Did Lily rip of this show's theme song?! Listen to find out!

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Theme music by: Daniel Konikoff

Join Bianca and Julian for their final episode of 2026, as they unwrap a Christmas classic: “Last Christmas" by Wham!

In this holiday send-off, they tackle a few burning questions: Why is this song so infectious? Why does it feel timeless decades later? And why has it been copied so endlessly?

They dig into the influences and science behind George Michael’s hit, breaking down its composition, arrangement, and production choices that give the song its staying power. From there, they branch out into four (…maybe five) tracks clearly inspired by “Last Christmas,” exploring how the song's DNA and tricks pop up in several hits from artists of different genres. 

As part of the conversation, Bianca and Julian wrestle with the cringe factor of Christmas music, the enduring power of Eurovision-style pop, and the influence of opera in pop music. They also discuss holiday movies, upcoming film releases they’re excited about, and the shocking, deeply sad news of Rob and Michele Reiner’s tragic deaths.

So pour some mulled wine, embrace the minor-key melancholy, and get ready for one last festive deep dive before the year wraps.

Happy Holidays and New Year from Bianca and Julian! Thanks for a great year!

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Join Bianca and Julian as they drop the needle on a topic near and dear to their hearts—a deep dive into their top 10 (…okay, 11) Paul McCartney Beatles songs.

For lifelong Beatles fans, this episode hits close to home. They trace their personal histories with the band, reflect on the Beatles’ towering cultural legacy, and revisit their experiences seeing Paul live—including the recent Hamilton, Ontario show. Along the way, they break down what truly defines a "Paul song" versus a "John song."

Then comes the main event: a guided tour through their chosen tracks, complete with the writing backstories, lyrical themes, melodic signatures, arrangements, and production details that make these songs classics.

So tune up your Höfner, comb your hair forward, and get ready for 2.5 hours of terrible Paul impressions. 

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Theme music by Daniel Konikoff

Sequins shimmer, spotlights glow, and Bianca and Julian are ready to take centre stage with another in-depth conversation—a three-hour deep dive into Taylor Swift’s The Life of a Showgirl.

For the first time in Anything But Toto history, they’re reviewing a second album by the same artist. And with Taylor’s latest release stirring up plenty of discourse, there’s no shortage of opinions. This isn’t just any pop album: it’s a polarizing pivot that trades in the soft indie dream-pop of Jack Antonoff for the punchy, radio-ready precision of Max Martin. But does the swap pay off?

Taylor herself called Showgirl a focused, autobiographical statement—a spiritual successor to 1989 and Reputation. Bianca and Julian put that claim to the test, unpacking the album’s concept, lyricism, melodies, and the glossy production from Martin and Shellback. But they don’t stop at the tracklist: the duo dives into Taylor’s history, politics and business decisions, and the Life of a Showgirl theatrical event.

So sit back, don your sequins and feather headpiece, and take a peek behind the curtain.

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