HEADER IMAGE Nia Archives shot by Iris Luz
Nia Archives, ‘Danger’
No one is blending jungle with 90s grunge quite like Nia Archives. Her latest album, Emotional Junglist, is set to be one of the best records of the year, and opening track ‘Danger’ pairs her signature breakneck percussion with unexpectedly diaristic lyricism, and a club-ready hook that refuses to leave your head.
Rachel Chinouriri, ‘One Song Away From Crying’
Rachel Chinouriri has always had a gift for making vulnerability sound effortless. ‘One Song Away From Crying’ leans into that strength, capturing the familiar feeling of holding yourself together until the right song tips you over the edge. Honest and intimate, it’s another beautifully observed entry in her catalogue, and a confident tease for her upcoming album, I Think I Spoke Too Soon, out on 16th October.
Adéla, ‘Ain’t In LA’
Adéla has been keeping us fed this year with upbeat tracks ‘KGB’ and ‘Red Bottoms’. On her latest track, she strips away the fantasy of chasing somewhere shinier, finding freedom in refusing to fit someone else’s idea of success. Adela’s sharp lyricism sits against polished pop production, creating a track that’s as reflective as it is addictive. It’s confident without feeling performative, grounded by an honesty that lingers long after it ends.
Charli XCX, ‘Persona’
Few artists understand reinvention quite like Charli XCX, and ‘Persona’ investigates the blurred line between public personas and artistic identity. Slick, self-aware and packed with restless energy, it’s another reminder that Charli remains pop’s most compelling architect of controlled chaos.
Kelela & PinkPantheress, ‘the bridge’
Kelela’s fluid, futuristic R&B finds an unexpectedly natural partner in PinkPantheress’ understated delivery. ‘the bridge’ is delicate yet immersive, switching between UK dance influences and atmospheric electronics without ever losing its emotional centre. Together, they create an intimate record that feels destined to soundtrack late-night journeys home.
Ravyn Lenae, ‘Saturday Night’
Ravyn Lenae makes even the smallest moments feel cinematic. ‘Saturday Night’ captures the hazy optimism that comes before an evening unfolds, wrapped in featherlight production and effortless vocals. It’s understated but magnetic, proving that sometimes the quietest songs leave the biggest impression.
Kim Petras, ‘Pop Sound’
Fresh from her phenomenal third studio album, Detour, Kim Petras is wasting no time keeping the momentum going. ‘Pop Sound’ is playful, maximalist and knowingly over-the-top, embracing glossy hooks and tongue-in-cheek confidence in equal measure.
FLO, ‘Remedied’
The trio continue to redefine modern R&B by looking to its past without getting stuck in nostalgia. ‘Remedied’ pairs their rich harmonies with polished production, delivering a breakup anthem that’s equal parts heartache and self-respect.
Madonna, ‘I Feel So Free’
‘I Feel So Free’ channels the euphoric spirit that’s always defined Madonna’s best work, blending dance-pop instincts with an unwavering sense of self-belief.
Rose Gray, ‘Just Be Bodies’
Rose Gray thrives in the space where dance music meets vulnerability. ‘Just Be Bodies’ pulses with late-night energy while exploring intimacy without unnecessary complication, balancing sleek club production with an emotional directness that feels refreshingly uncomplicated. It’s another addictive glimpse into one of UK pop’s most exciting emerging voices.
Tyla ft Zara Larsson, ‘She Did It Again’
Tyla and Zara Larsson are an inspired pairing, bringing effortless charisma to ‘She Did It Again’. Bright, playful and impossible not to move to, the track blends Tyla’s amapiano-influenced rhythms with Zara’s polished pop sensibilities. Together, they deliver a song that feels made for long summer evenings.
Steve Lacy ft SZA, ‘Is It Cool?’
Steve Lacy and SZA share an undeniable musical chemistry, and ‘Is It Cool?’ leans into their conversational approach to songwriting. Relaxed guitar lines, understated grooves and two unmistakable voices create something intimate without trying too hard. It’s cool in the truest sense; confident, effortless and endlessly replayable.
Olivia Rodrigo ft Robert Smith, ‘what’s wrong with me’
Bringing together Olivia Rodrigo’s confessional songwriting and Robert Smith’s unmistakable melancholy feels surprisingly natural. ‘what’s wrong with me’ captures self-doubt with wit and emotional precision, balancing youthful frustration against decades of gothic pop history. The result feels less like a novelty collaboration and more like a genuine meeting of generations.
Wasia Project, ‘Bleeding Gold’
Wasia Project continue to blur the boundaries between indie, jazz and chamber pop on ‘Bleeding Gold’. Rich arrangements swirl around intimate vocals, creating a song that feels expansive without losing its emotional closeness. It’s beautifully detailed, rewarding repeat listens with something new each time.
Beabadoobee, ‘Sun Has Set’
Beabadoobee has perfected the art of making nostalgia feel contemporary. ‘Sun Has Set’ drifts between dreamy guitars and quietly introspective lyricism, capturing the strange calm that arrives after an emotionally overwhelming day. It’s delicate, comforting and unmistakably her.
The Rolling Stones, ‘Mr Charm’
Even after six decades, The Rolling Stones still know exactly how to lock into a groove. ‘Mr Charm’ leans into the swagger that’s made them icons, delivering blues-inflected rock with enough grit and wit to remind listeners why their influence remains impossible to escape.
Suki Waterhouse, ‘Tear Drops’
Suki Waterhouse continues to carve out her own corner of dreamy indie-pop. ‘Tear Drops’ pairs shimmering production with wistful songwriting, lingering in the aftermath of heartbreak without becoming overly sentimental. It’s cinematic in the quietest way, perfectly suited to solitary walks and reflective evenings.
Phoebe Bridgers, ‘Lost Boys’
‘Lost Boys’ marks Phoebe Bridgers’ highly-anticipated return, with the kind of melancholic and devastating songwriting that made her such a defining voice of the last decade. Released ahead of her upcoming album, Lost Weekend, the track offers another glimpse at what’s to come while leaving plenty of room for her trademark intimacy and dark humour.
Julia Jacklin, ‘Get Away From Me (I Think I’ll Love You Soon)’
‘Get Away From Me (I Think I’ll Love You Soon)’ finds Julia Jacklin sitting in the uncomfortable space between wanting someone close and needing them to stay away. The track arrives ahead of her latest record, The Gem, promising another chapter of emotionally precise lyrics from one of indie’s sharpest observers of love and self-sabotage.
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