‘Listen In’ is the latest single from Robert Lane, someone who has quite the backlog of talent having been a musician, songwriter, podcast host as well as a music teacher. So, you can one hundred percent trust that this man has the knowledge to write a brilliant song!
Having performed at Glastonbury in 2019, Joe T Johnson embraces his calming aura with his highly anticipated single ’10 Pounds’. This Bristolian rides his own wave and sings about his own experiences growing up. “Welcome to England, where the towns are rough” he sings as a repetitive beat steps back lets Joe have his moment - with his ever so simple sounds, just him and his acoustic guitar taking the full spotlight. Johnson is a compelling artist who embraces the serenity of his own voice and mellow, 90’s brit-pop sounds.
After a short break, and a reshuffle of band members Mancuion shoegaze indie band ‘Bluff’ are back with their next single ‘50/50’. Similar to the track name itself, ‘Bluffs' latest offering presents the listeners with ‘50/50’ contrasting tones, combining guitar punching riffs whilst simultaneously creating dreamy vocals.
Shoegaze four-piece band hailing from Manchester Bluff are flying to the top of the upcoming radar – after playing successful gigs for Scruff Of The Neck and This Feeling, their brand new, highly anticipated track ‘50/50’ is a psychedelic dream that consists of jangly guitar licks, smooth drum beats and hypnotising vocals. If this tune was to end up anywhere, it would be on one of them cool ‘Driving to the beach’ playlists. It’s a happy and a delight to the ears.
'Shame' is the debut single release from Natalia Adhya, a singer songwriter from the notoriously amazing and musically diverse city of Manchester. She refers to her influences as Jorja Smith, Lauryn Hill, Amy Winehouse and grime influence. And, honestly, this is pretty spot on. Natalia has mastered the sound of the modern charts, offering a beautiful vocal range mixed with the element of rap that is so strongly enjoyed and celebrated by our generation.
There is often heated debate within music about what artist or song is “the soundtrack” of our generation. Is it the hazy bedroom pop of the likes of Beabadobee or Alfie Templeman? Is it the politically engaged screeching of Sports Team and Slowthai? Is it the seamless and subtle lyricisms of Loyle Carner and The Streets? Perhaps, or maybe it’s a song about a self-reflection of a faltering, fictional Gen Z alter-ego with a sampled Peep Show reference.