As a youngster, Dan Phelps grew up in the shadow of the music business - quite literally. Phelps' father was the founder of the Full Sail Recording Workshop, which has since grown into Full Sail University, a technical school that has taught thousands of people how to make a living in the music, film and television industries. With that much gear and talent around, it is no surprise that the younger Phelps took to music at a young age. He started with drums and eventually switched to guitar, developing an avant-garde and experimental style that has been a trademark for his entire career. Phelps has maintained a true artist's path, lending his talents as a composer, producer, guitarist, audio engineer and performer to a wide range of artists and situations - with the common thread being his collaborators' willingness to be open-minded in their approach to making music. The last few years have found Phelps diving deeper into his explorations of improvisational composition. His custom-made guitar and laptop-based performance workstation has several unique modifications that allow him to blend electronic music and live recording technology with the full range of expression of the guitar into unique soundscapes that are different every single time. Imagine a one-man electronica jam band that can take you on a musical journey for four minutes, four hours or anywhere in between. Phelps' foray into live performance technology shows that the seemingly limitless powers of advanced technology can most certainly be used for good.

As a youngster, Dan Phelps grew up in the shadow of the music business - quite literally. Phelps' father was the founder of the Full Sail Recording Workshop, which has since grown into Full Sail University, a technical school that has taught thousands of people how to make a living in the music, film and television industries. With that much gear and talent around, it is no surprise that the younger Phelps took to music at a young age. He started with drums and eventually switched to guitar, developing an avant-garde and experimental style that has been a trademark for his entire career. Phelps has maintained a true artist's path, lending his talents as a composer, producer, guitarist, audio engineer and performer to a wide range of artists and situations - with the common thread being his collaborators' willingness to be open-minded in their approach to making music. The last few years have found Phelps diving deeper into his explorations of improvisational composition. His custom-made guitar and laptop-based performance workstation has several unique modifications that allow him to blend electronic music and live recording technology with the full range of expression of the guitar into unique soundscapes that are different every single time. Imagine a one-man electronica jam band that can take you on a musical journey for four minutes, four hours or anywhere in between. Phelps' foray into live performance technology shows that the seemingly limitless powers of advanced technology can most certainly be used for good.

A precocious Susan Tunney was stuffed into a corset and practicing her dialect for a period piece in her college's theater program when she had an epiphany. A voice in her head said something akin to, "What am I doing up here pretending to be somebody else?" That moment of artistic clarity found her leaving school and heading back to her native Chicago where she had the good fortune to land in middle of the heyday of the city's fertile 90s music scene. She formed a band called Adamjack with her best friend Sophie Lee and they set about doing what bands do: writing songs, playing shows and making albums. In short order, they'd built a solid following both locally and on the road and the band was selling out top tier venues in Chicago. After Lee quit the band to attend to a family health crisis, Tunney moved to New York City and eventually back to Chicago, releasing music under her own name all the while. But a life in music can be hard on one's constitution and years of the grind prompted Tunney to step away from the business and move to Los Angeles to focus on family. But when you're a songwriter, the relentless muse keeps sending inspiration whether or not you think you're listening, and before long Tunney was back writing songs, assembling a band and releasing new material. California has been good for Tunney, and her new songs showcase both her raspy alto as well as her deft hand at turning a phrase.

A precocious Susan Tunney was stuffed into a corset and practicing her dialect for a period piece in her college's theater program when she had an epiphany. A voice in her head said something akin to, "What am I doing up here pretending to be somebody else?" That moment of artistic clarity found her leaving school and heading back to her native Chicago where she had the good fortune to land in middle of the heyday of the city's fertile 90s music scene. She formed a band called Adamjack with her best friend Sophie Lee and they set about doing what bands do: writing songs, playing shows and making albums. In short order, they'd built a solid following both locally and on the road and the band was selling out top tier venues in Chicago. After Lee quit the band to attend to a family health crisis, Tunney moved to New York City and eventually back to Chicago, releasing music under her own name all the while. But a life in music can be hard on one's constitution and years of the grind prompted Tunney to step away from the business and move to Los Angeles to focus on family. But when you're a songwriter, the relentless muse keeps sending inspiration whether or not you think you're listening, and before long Tunney was back writing songs, assembling a band and releasing new material. California has been good for Tunney, and her new songs showcase both her raspy alto as well as her deft hand at turning a phrase.

David Luning and his band are earning their accolades in the best way possible - simply by being good at what they do and by working hard. After high school, Luning left his hometown in Northern California and set out to study film scoring at Boston's prestigious Berklee College of Music. Things were going just fine until he happened to hear a John Prine record at a college party. Prine's seemingly effortless, enigmatic and elegantly simple songwriting style was a personal epiphany for Luning, and it set him on an entirely new tack. After convincing his parents that he needed to drop out of school to pursue this new career, Luning leaned hard into the craft of writing and performing. It wasn't long before he'd assembled a band, released an album and hit the road. That self-released first record, Just Drop On By, put him on the radar of listeners and music supervisors alike, and Luning's music began to land placements in movies and TV shows. All the while, Luning and his stalwart band were logging miles playing shows across the country, raising their profile and getting out in front of even more new fans. The beginning of 2017 finds Luning poised to release his sophomore album, Restless, and the record is a step forward in both writing and performing skill. After a quick spin, it's evident that Luning shares some of his mentor's approach; his songs - like Prine's - are delivered in a deceivingly simple style that comes across as unadorned truth. Luning's melodies are catchy and hummable, and not a syllable or guitar lick is wasted. It's a refreshing and mature listen in a world of overly-quantized and auto-tuned artists all desperately and loudly vying for attention.

David Luning and his band are earning their accolades in the best way possible - simply by being good at what they do and by working hard. After high school, Luning left his hometown in Northern California and set out to study film scoring at Boston's prestigious Berklee College of Music. Things were going just fine until he happened to hear a John Prine record at a college party. Prine's seemingly effortless, enigmatic and elegantly simple songwriting style was a personal epiphany for Luning, and it set him on an entirely new tack. After convincing his parents that he needed to drop out of school to pursue this new career, Luning leaned hard into the craft of writing and performing. It wasn't long before he'd assembled a band, released an album and hit the road. That self-released first record, Just Drop On By, put him on the radar of listeners and music supervisors alike, and Luning's music began to land placements in movies and TV shows. All the while, Luning and his stalwart band were logging miles playing shows across the country, raising their profile and getting out in front of even more new fans. The beginning of 2017 finds Luning poised to release his sophomore album, Restless, and the record is a step forward in both writing and performing skill. After a quick spin, it's evident that Luning shares some of his mentor's approach; his songs - like Prine's - are delivered in a deceivingly simple style that comes across as unadorned truth. Luning's melodies are catchy and hummable, and not a syllable or guitar lick is wasted. It's a refreshing and mature listen in a world of overly-quantized and auto-tuned artists all desperately and loudly vying for attention.

Emily Zuzik's career in the performing arts is a study in diversification. At varying times, she can call herself a singer, songwriter, guitarist, actress and model - and she has had success at each of these related-but-distinct pursuits. Zuzik has released several records of her own music that range in style from a Sheryl Crow-esque rootsy-rock vibe to a hip-hopping blend of Aimee Mann, Alanis Morissette and Beck. Her vocals have been heard on NBC, WB Interactive and she has collaborated with Moby and sung with Blue Man Group. Her newest project is an EP of electronic music called Angelenos created with Tim Lefebvre that is reminiscent of Sarah McLachlan-fronted Massive Attack. No matter the genre, it's Zuzik's dynamic voice that ties it all together, ranging from a sweet melody to a sultry sneer in a matter of beats. Zuzik somehow even found her way onto a book cover; you can see her likeness wearing a bikini and wielding a spear gun on the cover of a now-out-of-print Penguin Paperback edition of James Bond's Thunderball. As if all these accomplishments weren't enough, Zuzik proudly bears the self-appointed title of 'Rocker Mom,' which means that aside from following her muse and sharing her gifts as a musician, she has the most important job of all. Because anyone who knows anything about moms knows that it's a 24/365 gig.

Emily Zuzik's career in the performing arts is a study in diversification. At varying times, she can call herself a singer, songwriter, guitarist, actress and model - and she has had success at each of these related-but-distinct pursuits. Zuzik has released several records of her own music that range in style from a Sheryl Crow-esque rootsy-rock vibe to a hip-hopping blend of Aimee Mann, Alanis Morissette and Beck. Her vocals have been heard on NBC, WB Interactive and she has collaborated with Moby and sung with Blue Man Group. Her newest project is an EP of electronic music called Angelenos created with Tim Lefebvre that is reminiscent of Sarah McLachlan-fronted Massive Attack. No matter the genre, it's Zuzik's dynamic voice that ties it all together, ranging from a sweet melody to a sultry sneer in a matter of beats. Zuzik somehow even found her way onto a book cover; you can see her likeness wearing a bikini and wielding a spear gun on the cover of a now-out-of-print Penguin Paperback edition of James Bond's Thunderball. As if all these accomplishments weren't enough, Zuzik proudly bears the self-appointed title of 'Rocker Mom,' which means that aside from following her muse and sharing her gifts as a musician, she has the most important job of all. Because anyone who knows anything about moms knows that it's a 24/365 gig.