Artists
LITT LIVE (Formerly Dash Radio) Revamps Rhythmic Channel “The City”
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It’s been almost 10 years since “The City” was launched on Dash Radio (now LITT Live). The goal was to be the rhythmic channel that mimicked the vibe and pulse of a City. Now with new direction from Cory Giles, a former Program Director and DJ/personality with over 5 years of on-air experience, and LITT’s Senior Vice President Michael Coquia, the duo hopes to escalate the City to a new era of programming.
“The City” is set to re-launch on November 4 at 8 AM EST with the morning drive show “Maroc In The Morning” hosted by Hala Maroc (Kitchen Talk, Formerly Foxy99). The channel will also feature mix shows from Grammy nominated producer Bangladesh and well-known Radio personality Hip Hop Mike (Formerly Hot 97). To usher in the re-launch, there will be a special “Welcome to The City” All Mix Weekend featuring DJs from cities all around the country starting November 2nd.
Cory says, “One goal of The City is to create a fun radio alternative in the Hip Hop & R&B space that’s truly for the Culture.” Expect to experience not only great radio but also great storytelling from the airwaves down to the digital content. LITT Live has over 80+ Channels, boosting over 21 million active listeners monthly.
Listeners can tune in to The City globally on the LITT Live App.
About The City –
The City is a rhythmic radio channel on LITT Live that is the home of today’s hottest Hip Hop & R&B.
About LITT Live –
LITT Live is an innovative digital radio platform delivering live music, talk, and entertainment to millions of listeners worldwide. With a commitment to interactivity and unique user experiences, LITT Live offers exclusive content, powerful engagement tools, and cutting-edge technology to revolutionize how people listen to and interact with radio.
Media Contact:
Brent Thompson
Admin@TheLITTGroup.com
Cory Giles
Cory@CoryGiles.com
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SENSANE, a Derby producer and DJ, will launch his upcoming album on 22 October 2026 via AHK Global Records, his own record label, according to the announcement. The album combines prominent voices from Panjabi music, new talent from India, and UK artists, marking SENSANE’s debut appearance as a vocalist.
The album follows SENSANE’s long-running mix of Panjabi and Bhangra traditions with folk, hip-hop, R&B, garage and electronic production, a sound he’s built his name on as both a touring DJ and label head. AHK Global Records, which he founded, has previously put out Punjabi-facing projects, including a five-track EP with vocalist Kulvinder Johal that reportedly debuted at number six and was described by some as the first Punjabi album to reach that position on its chart.
"This album brings together the sounds and artists that have shaped me," SENSANE said in the announcement. "I wanted the album to honour the legends, give new voices a platform and show where I’m going next. Putting my own voice on a track is a big moment for me, and I can’t wait for people to hear it."
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Studio CarryOnHarry will be watching whether SENSANE’s own vocal debut changes how listeners place him: as a producer stepping forward, or as an artist who’s been building toward this the whole time.
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The release continues a pattern in C’batch’s work: revisiting prior work and reimagining it across multiple versions instead of viewing recordings as standalone pieces. Multiple outlets covering the release have noted that this approach — returning to older ideas and giving them new context — has become something of a signature, with this track functioning as the fourth installment under the “Our Little Pooh Pea (The Last Light)” title.
The piece is instrumental, with the guitar serving as the primary voice throughout the piece rather than functioning as one element among vocals or other lead instruments. Coverage of the release has described the guitar as the connective thread of the piece, tying its texture and tone together in a way multiple reviewers have called cinematic — the arrangement building mood and movement without lyrics to guide it.
Studio CarryOnHarry finds the more interesting story here isn’t the track itself but the method: a musician who views archived material as material for reinterpretation across multiple versions, and building a numbered series out of revisiting it.
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