Reactions, travel, bucket list adventures, personal projects, and everything in between. This is where you’ll find videos from across the years, along with new ones as I keep creating, exploring, and checking more things off the list.
From the channel
Watch the trailer and read Melvin Maya's investigation context →
Watch the entire investigation and read the filming notes →
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Melvin Maya’s reaction to Gorran and Romain’s cover is built around one simple arc: a familiar song, a hesitant opening, and a performance that tightens up enough to win him over.
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Melvin Maya’s response to Tom MacDonald, Adam Calhoun, and Dax is less about controversy than craft: fast delivery, sharp visuals, and a message that pushes back against easy division.
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Melvin Maya and Craig Bush respond to a rare live session where Harry Mack and UK freestyle MC LEEN trade bars over Beardyman’s backing track.
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Melvin Maya’s reaction to Craig Bush’s Harry Mack x Beardyman video centers on a simple idea: the magic comes from two improvisers building the song at the same time, with no script and no reset button.
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Melvin Maya’s watchalong with Craig Bush turns into a quick read on Ren’s dense lyric style, the track’s dark tone, and the artist’s independent release path.
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Melvin Maya and Craig Bush steer this stop in the Ren series toward full rap performance, with the video emphasizing that Ren built the beat himself and pushed the track with a dense, layered style.
CXM PRODUCT
A Travel With Melvin design inspired by days on the water.
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Craig Bush’s reaction to a Ren-led street performance with Sam Tompkins is part music breakdown, part introduction to a wider creative circle, and part reminder of how quickly a crowd can form around the right voice.
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In his first live stream, Melvin Maya answered questions about Ren, reaction videos, cameras, travel, and a new mobile format he hopes will bring strangers into the frame.
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Melvin Maya and Craig Bush react to The Big Push’s busking set, and the conversation quickly shifts from a simple cover to the craft of blending songs, styles, and accents on the street.
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Melvin Maya’s first-time reaction to Ren’s “Hi Ren” works because it never pretends the song is just one thing. With Craig Bush watching alongside him, the video becomes a guided listen through changing genres, an alter-ego showdown, and a performance that Mel
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Melvin Maya’s reaction to AURORA’s “Black Water Lilies” becomes less about a straightforward review and more about how voice, tone, and melody can trigger a visual response in the listener.
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Melvin Maya turns a reaction video into a candid account of sleeplessness, overthinking, and the ways insomnia spills into work, money stress, and creative planning.
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Melvin Maya’s reaction to Omegle Bars 46 is less about novelty than control: a parking-lot freestyle built from asparagus, buffaloes, and USA that gradually widens into a sharper comment on division and momentum.
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Melvin Maya’s reaction to Trick the Fox’s “Run Away” centers on a simple shift: the song feels heavier, more rock-forward, and newly shaped by drummer Tommy Frampton.
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Melvin Maya’s reaction to Oliver Anthony’s “I Want To Go Home” is part music response, part media critique, and part defense of a songwriter he sees as plainspoken and sincere.
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Melvin Maya’s first-time reaction to Earl’s “In Love and War” is built on a simple kind of curiosity: a song that caught his ear fast enough to stop the playlist and come back later with a reaction. The result is a compact appreciation piece about voice, feel,
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Melvin Maya reacts to Molly McKinna’s original track Wanted and keeps coming back to the same point: the live mic setup lets her voice, lyrics, and understated band arrangement land more clearly than before.
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Melvin Maya’s reaction to Harry Mack’s Omegle Bars 16 centers on the way a single image keeps getting reworked, repeated, and landed with real momentum.
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Melvin Maya’s latest reaction works because it is not just about the mashup itself. Monica Villasenor responds to the live chemistry, the crowd around the performers, and the larger Ren universe the video points to by the end.
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Melvin Maya and Monica Villasenor react to The Big Push’s take on Fatboy Slim’s “Praise You,” and the performance stands out for how little it needs to feel complete.
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Melvin Maya comes to “Chalk Outlines” expecting a strong song, but the live version changes the frame. His reaction turns on vocal contrast, emotional pull, and the kind of chemistry that makes a performance feel larger than the studio cut.
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A reaction video becomes a useful listen for how a busking setup, a crowded public space, and three very different songs reveal what Ren and Sam Tompkins can do together.
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Melvin Maya’s reaction to The Big Push is really a reaction to the setup itself: a busking performance, a rotating lineup, and a mashup that keeps changing shape as it unfolds.
