Anything But Toto

Bianca and Julian are back from their European honeymoon, and they've got plenty of stories to tell, music to unpack, and opinions to get off their chests. First up: a recap of their travels across the UK and France, including an unexpected encounter with the son of a Beatle! Then it's time to catch up on some new releases. They revisit Paul McCartney's The Boys of Dungeon Lane with its new deluxe edition, dive into Olivia Rodrigo's "expectations" remix featuring Chappell Roan (and its fun David Byrne-led video), and weigh in on Gracie Abrams' surprise new single "Here You Come, There You Go," and Slayyyter's "i think he's got a girl." But the main event is a trio of album reviews. First, Taylor Swift returns with The Life of a Showgirl: The Encore, adding four new tracks to her much-maligned twelfth studio album. Can these additions redeem the original, or should the curtain be dropped? Next, Tinashe takes them back to the 2000s with Popstar, a slick, nostalgic blend of R&B and pop featuring what might just be one of the greatest runway anthems of all time. Finally, they venture into the dark, genre-defying world of Fontaines D.C.'s Dopamine Chamber, an album that marries cinematic grandeur, post-Britpop swagger, and post-punk darkness. And speaking of cinema, Bianca and Julian close things out with a detour into some of the movies they've watched lately. So shake off the jet lag, cue up your favourite runway walk, and prepare for another episode of pop music praise, pointed criticism, and the occasional crash out. Email us at [email protected] Theme music by Daniel Konikoff

Join Bianca and Julian as they turn their attention to the other half of the Lennon–McCartney songwriting team - a deep dive into 10 of their favourite Beatle-era John Lennon songs. They start by unpacking their fascination with John: his undeniable coolness, razor-sharp humour, and the way his martyrdom reshaped how the world remembers him. They also explore the pain and curiosity at the heart of his music, from the childhood trauma that followed him throughout his life to the ways he channelled it into some of the most haunting, vulnerable, and startlingly honest pop music ever recorded. Then comes the main event: a guided tour through their chosen tracks, digging into the writing, performances, arrangements, and production choices that made John such a singular songwriter. Along the way, they break down the qualities they love most about his music - his bluesiness, colourful wordplay, horizontal melodies, and instinct for breaking the rules of song structure, key, and tempo. So grab your Rickenbacker, put on your round glasses, and get ready to rattle your jewellery. Email us at [email protected] Theme music by Daniel Konikoff

Movie classics, Beatles discourse, and three of pop’s biggest new releases - Bianca and Julian are back with another sprawling music roundup. They kick things off with two recent watches: Sidney Lumet’s timeless "Dog Day Afternoon" and Matt Johnson’s new Anthony Bourdain biopic, "Tony", before weighing in on the internet’s latest obsession: the flood of set photos from Sam Mendes’ four Beatles biopics. Then it’s time for the music. First up is Phoebe Bridgers’ "Lost Weekend", a haunting meditation on grief, memory, and the strange ways we revisit the past. Bianca and Julian unpack how Bridgers transforms the death of her father and a broken engagement into one of her most cinematic records yet, exploring Jack Antonoff’s fragmented production, the album’s shifting sense of time, and - because they can’t help themselves - a deep dive into the Phoebe Bridgers and Bo Burnham lore. Next comes Ariana Grande’s "petal," an album that feels furious without ever raising its voice. They explore its restrained emotional palette, the tension between vulnerability and anger, and how the recent discourse surrounding Ariana’s public image has shaped the conversation around the music itself. A quick detour brings them to Slayyyter’s “brand new chanel$”, the explosive lead single from her upcoming album "WOR$T MAN IN AMERICA" - and they make the case that it’s already one of the strongest pop songs of the past decade. Finally, they close with Role Model’s "Chuck Timely & The Hourglass", a concept album steeped in early ’70s Americana. Bianca and Julian wrestle with what the album’s concept is really trying to say, and where the line lies between homage and innovation. Email us: [email protected] Theme music by: Daniel Konikoff

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. Email us: [email protected] Theme music by: Daniel Konikoff

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! Email us at [email protected] 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. Share your favourite country songs at [email protected] Theme music by: Daniel Konikoff

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.”   Email us at [email protected] Theme music by Daniel Konikoff Follow Bianca’s new Substack, “After Hours”, and read her latest essay, “Those Hips Will Never Fly You to Paris”: https://substack.com/home/post/p-194630536 

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. Email us: [email protected] 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! Email us: [email protected] Theme music by: Daniel Konikoff