TWOFEW Gets Unfiltered with “Let It Go.”

TWOFEW’s new single, “Let It Go,” lands with the resonant thud of a heartfelt admission, the kind you only make when the room’s too loud to be properly heard. This Phoenix, Arizona quartet – Michael Lazar leading on vocals and keys, David Lazar wrestling with guitar, John Sebring on drums laying down a defiant pulse, and Danielle Lazar anchoring the low end on bass – clearly aims for those stadium rafters. They cite Billy Joel’s soul, Audioslave’s crunch, and The Fray’s open-vein emotion. It’s all there, a potent brew of anthemic rock where melody fights pleasingly with muscle.

The song’s title is a curious thing, a sort of dare to its own content. “Let It Go,” it proclaims, while the lyrics are busy collecting moonbeams and treasured moments from a relationship weathering heavy seas. This tension – between the stagnant, difficult now and the romanticized then – is its raw, beating heart. It reminds me, strangely, of discovering a pressed flower in a very serious book about, say, quantum physics; a fragile, colourful contradiction. Here, the contradiction is between the will to release and the desperate human need to hold onto what felt true.

TWOFEW Gets Unfiltered with "Let It Go."
TWOFEW Gets Unfiltered with “Let It Go.”

There’s an unfiltered quality here, a genuine scuff around the edges that feels earned. Michael Lazar’s vocals, powerful and striving, don’t shy away from the strain. The band isn’t just playing; they’re excavating, and the sound is appropriately “loud” and “honest” as promised. This isn’t music aiming for a billboard through calculation; it feels dug up from a place of genuine experience, more like a public diary entry set to a compelling roar.

This “Let It Go” doesn’t offer easy catharsis. Instead, it invites you into the thick of that internal struggle, the push and pull between resignation and those stubbornly persistent daydreams under starry skies. It’s a testament to messy human connection, to the way we furnish our inner worlds with hope, even when the lights outside are dim. Does the letting go ever truly happen, or is the song itself the act of clinging on, just a little louder?

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