Fresh off the release of her EP Naturally, Nektar Woode is already back with brand-new music. ‘Only Want You’ feels like a natural continuation of where the EP left off, almost hinting at a deluxe edition on the way. While the sound of her new song might fit perfectly into her latest release, nothing could be further from the truth. The time for Christmas music has officially started, and this year Nektar is adding her contribution to the list. On ‘Only Want You’ she explores the idea of only wanting to be with one person, especially during the festive season. It captures the desire to share those cosy, beautiful moments with the one person you love. Musically, it offers a comforting neo-soul sound, with hints of R&B in the way she unpacks her voice. Beneath that warmth, the lyrics hint at a much sadder version of Christmas than the song initially lets on. Think of Chris Rea’s ‘Driving Home for Christmas’, the romantic story of someone packing their bags, getting in the car and making their way home in time to celebrate with their loved ones. Nektar Woode offers the perspective from the opposite side. She is the one waiting by the open fire, hot chocolate in her hand wishing for that someone to arrive in time for Christmas. There's a sense of uncertainty in that wait, of not knowing whether that person will actually make it home, and of being left with the loneliness that comes with it.
Frank Sinatra’s ‘My Way’ is sounding larger than ever tonight in Milan’s industrial venue Alcatraz. The iconic words “I did it my way” float through the pipelines on the ceiling, which still give away the venue’s factory origins. While the song is still playing, Bleachers make their way onto the stage. The band takes a strong stance, allowing the crowd to loudly cheer them on and feed them the energy they need to kick off the first European stop of their Bleachers Forever Tour. The stage is packed, with the band counting seven members tonight and seemingly unlimited access to a range of instruments that give away the musical explosion awaiting us. As each member grabs an instrument of their choice, the show starts with ‘sideways’. Somehow, it does an excellent job of continuing where Frank Sinatra left off as they sing “Watched you make a fake call. Memorize the highway. Back then, you were a miracle. You did it your way”. The show continues with another offering from their latest album, everyone for ten minutes. As if the three pianos, two drum sets, two saxophones and keyboards on stage aren't enough already, Jack Antonoff pulls another instrument out of his pocket: the harmonica. It becomes the true star of ‘the van’, elevating the folk sound of the soft-rock song. The Milanese crowd is here to party. This becomes clear the moment Evan and Zem launch into ‘Modern Girl’ with a soaring saxophone. It’s the perfect song to test the energy in the room tonight. And trust us when we say the energy is big. Everyone in the audience happily joins in, from the cheerful “Woah oh oh” to the loud screams. No one is holding back. This sense of freedom is clearly encouraged by frontman Jack, who, in turn, jumps around as if he were alone in his room with no one watching and absolutely no shame. As he sings “Play it like a heart attack for ya. We play it like a heart attack”, he throws his body around uncontrollably, making his voice hitch. As a producer and songwriter for artists as Lana Del Rey, Kendrick Lamar and Sabrina Carpenter, Jack knows how to tell a story. He sings with a certain sincerity and urgency, especially when the lyrics become personal, as they do on ‘Everybody Lost Somebody’. Even though his fans are singing along at the top of their lungs, it's almost as if he's talking and shouting his way through the noise. His ability to deliver the songs in such a conversational, raw way is exactly what makes Bleachers stand out from other bands. The same happens during ‘Goodmorning’. Towards the end, a saxophone solo takes over the vocals, bringing the song up close and personal through instrumentation alone, before Jack joins in again and they end on a beautiful interplay between harmonica and saxophone. Parts of the show feel like a summer festival. The joy the band brings to the crowd, encouraging everyone to chant along to the simpler parts of the songs, has us feeling as though we're standing in the burning sun, surrounded by strangers who feel like friends, beer in hand and singing at the top of our lungs. It's songs such as ‘dirty wedding dress’ and ‘Rollercoaster’ where this feeling is at its strongest. For the latter, we're asked to climb onto each other's shoulders. Before we know it, the venue is filled with fans climbing on top of one another, creating a sea of people up in the air. Their hit ‘I Wanna Get Better’ gets two moments during the show. Jack tells us that the song was initially written as a folk song before eventually being released into the world as the huge indie-rock anthem we know today. The version it was originally meant to be allows the band to take a short break, as the lead singer performs the acoustic version by himself. This folk interpretation gives him the chance to show off his warm, intimate voice. Fans of the original version don't have to worry, though. Near the end of the night, we're treated to the full, energetic and explosive version of the song as well. Twice the fun! The highlights of the night go to songs from their third studio album, Take the Sadness Out of Saturday Night. We've never had particularly strong feelings about which Bleachers album is our favorite, but hearing them take turns performing songs from each of their releases makes it clear that this is the album that sounds at its very best live. For ‘Chinatown’, the band adds another member as they invite one of their fans onto the stage to play guitar and sing along. This spontaneous moment adds to the overall easy-going vibe we've been feeling throughout the night. The way the band casually walks around the stage and switches instruments effortlessly is incredibly comforting and beautiful to witness. The band closes the night with ‘Stop Making This Hurt’. The song's production gives everyone another chance to shine and perform at full force. A night that started with Sinatra facing the final curtain ends with Jack telling us to say goodbye like we mean it. We do.
There’s something intriguing about a song called ‘Okunkun’, the Yoruba word for darkness, that feels this full of life. Solana and producer Killertunes create a sound that pulls you in through its colourful blend of electronic pop and Afrobeats, but there’s more to it than an infectious rhythm. Beneath the bright production lies a song about finding your way through difficult moments and refusing to let the darkness take over. What makes ‘Okunkun’ particularly interesting is the way Solana brings her Yoruba identity into the music. Rather than treating language as just another part of the melody, she makes it central to the song’s character. Her delivery feels effortless against the upbeat production, allowing the Yoruba lyrics to become part of the rhythm itself. There’s a real sense of freedom in the way she moves between contemporary pop sounds and the cultural influences that shape her as an artist. Perhaps the most beautiful part of the story is that ‘Okunkun’ was originally written back in 2023. After facing doubts about the song and struggling to get others on board, Solana eventually trusted her own instincts. Now, years later, it’s finding an international audience. Months after its official release, the song is finally gaining momentum, with more and more listeners picking it up and helping it go viral. Among the artists showing it love are Tyla, SZA and Doechii. There’s something fitting about that journey. A song about moving through darkness has become the one bringing her into the light.
Long before electronic music became what we know today, Ryuichi Sakamoto was already pushing its boundaries. The Japanese composer and artist was a co-founder of Yellow Magic Orchestra, a pioneering electronic music trio that experimented with synthesizers and digital production. His influence reaches far beyond electronic music, from film scores to experimental sound installations. At Hamburger Bahnhof, seeing sound, hearing time brings seven works together across five large-scale installations, exploring the relationship between sound, image and our perception of time. Expect everything from an out-of-tune piano responding to earthquake data to immersive audiovisual works created with artists including Carsten Nicolai, better known in electronic music as Alva Noto. A fascinating opportunity to discover the experimental side of an artist whose influence on electronic music continues to resonate. Ryuichi Sakamoto ‘seeing sound, hearing time’ is on view until 20 June 2027 at Hamburger Bahnhof in Berlin.
Charlie J Perry, better known as Common Saints, first heard Olympia Vitalis’s song ‘Curls’ and found himself wondering, “Who’s this!?” From the very first listen, he knew they had to work together. Before collaborating on music, the two hit the road together, with Olympia supporting him on his European tour. Everything clicked, and they headed into the studio. The result, ‘December Sunshine’, is a lush piece of 60s-inspired soul music. The duo drew inspiration from Marlena Shaw’s legendary album The Spice Of Life. Everything about ‘December Sunshine’ makes it a modern take on 60s soul: the luxurious harmonies, the crisp drums and handclaps blending into the production. Marlena’s beautiful love song ‘Looking Through The Eyes Of Love’ comes to mind when listening to Olympia’s equally romantic lyrics. “Every time that you call me it's like December sun's here. Don't even need to be talking, all of my cold disappears.” The singer won't have to feel cold during the harsh British winter. Love will be her source of warmth and comfort during the coldest months of the year.
UK-based singer TYLER LEWIS has pretty much been through it all. At just 25 years old, she competed on Little Mix: The Search with her band Nostalia, went solo, became the first artist to be signed to MNEK’s label MUZO BY UZO in 2023, got dropped by her label and launched her independent adventure. If this doesn’t sum up the rollercoaster that is showbiz, we don’t know what will. With her new release, she proves to be the last one laughing. The acoustic guitar paired with a nostalgic R&B-tinged beat makes for a great throwback to 00s pop music. ‘be original’ sounds like a modern-day ‘Doing Too Much’ by Paula DeAnda. TYLER LEWIS shares a confident and cheeky take on heartbreak. If you’re planning on breaking her heart, at least do it well. Make it unforgettable. She sings: “If you're gonna run around, she best be unbеlievable. If you're gonna let me down, make it unforgettable. If you're gonna make me cry, wanna be uncontrollable. And if you're gonna break my heart, make it so damn good, 'cause I've seen it all, be original”. She has us wishing we could be this cool-headed when our hearts are about to be broken.
Let’s set the scene. It’s a gloomy Sunday morning, the temperature is somewhere around 10 degrees as you walk into a London café smelling of freshly baked croissants. It’s not too packed, just a crowd of like-minded people who enjoy starting their day early. Some read a book, others catch up on the news. You, however, take the seat by the window, stare out onto the street and notice the music playing in the background. The soundtrack to the start of your day? Tia Gordon’s latest release, ‘Caffeine’. “Table for two, a little tea with a really nice view” over an atmospheric neo-soul arrangement. UK-based singer Tia Gordon’s pen transforms you right into this setting as she perfectly translates her world into writing. The romantic, almost jazzy R&B number makes a cheeky comparison between someone's love and the feeling of a caffeine rush. Her talent has already been recognized by artists such as Mahalia, Mabel and Sam Smith, names that may well have influenced her music while growing up. At just four years old, Tia had already started singing. She later taught herself to play the guitar during her teenage years, eventually leading her to release music in 2022. Fast forward to today, and we’re being treated to ‘Caffeine’, the soundtrack to your day.
The heat inside Lido in Berlin feels like a group of ballroom dancers has just left the building to make space for tonight’s crowd. The stained red ceiling is hung with crystal chandeliers and a disco ball. Ryan Beatty is styled for the occasion in an all-black tuxedo suit. His five-piece band, dressed casually, takes the edge off, giving the space some much-needed informality. Nothing about the setup hints at the American singer’s newly found love for country and Americana-inspired music. The lead single from his latest album, Sweet Fortune, is chosen to open the show. ‘Secret Language’ has the crowd dialled in from the very first word. Ryan’s voice is compelling and present in the room, demanding the crowd’s attention. It’s the best choice to start the show, blending everything that awaits us into one song: romantic, country-tinged indie pop with strong Americana and folk influences. While he does an excellent job bringing the song to life, we’d hoped the euphoric harmonica and warm horns from the studio version would make it onto the stage. ‘White Lightning’ hits the sweet spot, presenting country-like instrumentation without ever overdoing it. The way the twangy, guitar-led sound manages to stay moody makes it the perfect partner for Ryan’s effortless melodic flow. On ‘Virtuoso’, there is no holding back on the country vibes. The up-tempo number starts and finishes with a guitar solo. The sharp, rapid guitar playing transports you straight to the rural Southern and Western United States. Just like on the studio version, the band never does too much, allowing each instrument to shine to its fullest. The simplicity makes for a more traditional, folk-inspired country song. Ryan is not one for a theatrical or expressive stage presence. His storytelling and songwriting get all the attention they deserve, without distractions. The size of the stage feels exactly right for what we’re being presented with tonight. A bigger stage would take away from the intimacy of the words being sung to us. The evening makes it clear that he is a songwriter first, rather than your typical performer dancing and talking their way through the tour. There is barely any talking between songs, no origin stories behind the music being performed, just lyrics written in a way that makes it feel as though he is singing directly to you rather than performing for a crowd. ‘Delancey’ tells the story of the emptiness that follows a hookup when there is no real connection with the person he was with. Substitutes like alcohol and reminiscing about the past become distractions from finding real love and connection. He takes a seat, blending in with his band and giving off the impression that he doesn't want to be seen as he expresses his truth. The moment calls for haunting reverb on the microphone, creating distance between the listener and Ryan. It feels like a painful representation of a brilliant songwriter facing the consequences of having to sing about his experiences night after night. Goosebumps. “Spotlight simmers on the floor and falls on the ingénue, in powder blue and I watch her from the wings” sets the mood for a big theatrical number. Something about ‘Phantom’ is reminiscent of Queen’s ‘Somebody to Love’. Maybe it’s the euphoric build-up of the live instruments, the way his voice keeps layering to sound bigger and fuller, or the moment when the song strips back to just the keys being played. Unlike Queen, Ryan never fully explodes into a big musical spectacle. He stays calm and composed, giving just enough to build the same tension without ever losing his identity. As the show comes to an end with the ballad ‘Fleur De Lis’, we leave with plenty of moments to think about in the coming days. The way he brings a story to life on ‘White Teeth’ has the crowd locked in, and his crystal-clear falsetto on ‘Annie, Anything’ has them cheering him on at his highest notes. Songs like ‘Bruises Off The Peach’ and ‘Andromeda’ give his band space to go all out, and give his album Calico a moment to shine. Ryan Beatty stays true to himself, despite the expectations that might come with a live show. This is just the way we like him.
The uncertainty in the opening words of this song grabs us from the very beginning. “You said that you will, maybe you won’t. Is it the wine that made you unfold?” goes straight to our soul. Few writers turn heartbreak into a story as well as Maverick Sabre. His latest single, ‘Catch You’, is no exception. It’s powerful lyrics like these that can take on different meanings for whoever listens to them. His pen has the kind of magic that allows him to write painful truths while still leaving room for listeners to shape them around their own life experiences. Whether you’re living with the uncertainty of a relationship slipping away or facing the possibility of losing someone, “Don’t shatter my heart and throw it away. I’ll try to catch you, I’ll try to save ya” hits just as hard in either scenario. When the song reaches the 2:40 mark, Maverick’s words make space for the production to take over. There might be no words left to tell the next part of the story, but the way the music shifts hints at a drastic turn of events. His last words leave it open: “Maybe you will, maybe you won’t.” The electric guitar doesn’t. As soon as it takes the lead, it bites straight through that hope. As it keeps unfolding, drums join the loud, distorted guitar riffs like emotions spiraling out of control. It creates a sound that feels like the soundtrack to a tragic ending as the chaos slowly fades out to complete silence.
No stranger to collaborations that add meaningful depth to his music, Mannywellz is making his comeback with a partner in crime. The Nigerian-born, Maryland-based singer is teaming up with Germany-born Odeal, whose parents are Nigerian, on ‘Cry On You’. The two coming together makes sense, knowing Mannywellz loves sharing the studio with artists who share his roots. Earlier in his career, he worked with singers such as Tems and VanJess. We always love seeing musicians come together, and even more so when it clicks like this. Don’t let your expectations get the best of you. The production has no intention of serving up an Afrobeats-inspired tribute to their Nigerian roots. Instead, it finds a sweet spot between US and UK R&B. Throw them together in the mixer, and you’ll find yourself with an atmospheric production featuring a traditional R&B bassline and an almost haunting melody that easily could’ve been part of UK duo Disclosure’s album Caracal. In a world where song length can be its own enemy, the duo has decided to follow the trend of keeping things short. At just under two minutes, the track stands out for its brevity. There’s no catchy hook designed to inspire a future TikTok dance, but it still follows the unwritten rule of keeping songs as short as possible. We feel that, on a track like this, another minute would have given the pair more room to sing in harmony and let their talents melt together. As it stands, it feels like they recorded their parts to the song independently. While the production takes on an international flair, Mannywellz doesn't compromise his distinctive vocal delivery in pursuit of commercial radio play. He stays true to his thick, unapologetic African accent. This is exactly what makes him stand out on a more commercially accessible track like this. His voice is what makes the song unmistakably his, helping him stand out in an overcrowded room.
Ella Eyre is used to running across festival stages to drum ’n’ bass drops. Tonight she’s sitting down, in the middle of a three-piece band, in the basement of Quasimodo, Berlin’s jazz club since 1975. Her career really took off thanks to her contributions to the music of DJ Fresh and Rudimental. The latter gave her a massive breakthrough with ‘Waiting All Night’, a number-one single that won the BRIT Award for British Single of the Year in 2014. Big drum ’n’ bass music with pop influences quickly became her signature sound, guaranteeing her a place on festival stages thanks to its high ‘gets-the-party-started’ factor. There’s no escaping it: you’ll know her biggest songs and find yourself singing along to every word. We’re not going to lie, the thought of seeing an artist like Ella perform in such a stripped-down setting had us worried for a minute. The small room breathes history, and the heat in the basement feels clammy in the best way possible. The crowd is on its feet, impatiently waiting for Ella to open with ‘head in the ground’, the lead single from her latest album. It sets the tone for the night: an unlikely catalogue reworked into jazzy, almost jam-session versions, belted out in a voice that’s larger than life, or at least larger than this room. Watching it unfold right in front of us quickly takes away every concern. Her powerful, husky and slightly raspy voice is the perfect instrument to serenade the jazz club. What a luxury it must be for an artist this far into her career to play a small, intimate show, truly connecting with fans on a much smaller scale. She doesn’t need the big stage, the theatrical energy or endless crowds to bring her music to life. The fast-paced chorus of ‘Diamonds’ almost mimics jazzy scatting. The song revolves around the search for the perfect match, with a sense of begging and pleading woven into its lyrics. “Where the hell are all the fish out there? Plenty of them in the sea they said. So far all that I found are great whites tryna bite down but I been looking for the real damn thing” feels strongly reminiscent of RAYE’s successful hit ‘WHERE IS MY HUSBAND!’. Ella herself seems to agree, seamlessly blending TikTok’s favorite part of the song into the live performance: “I would like a diamond ring on my wedding finger, I would like a big and shiny diamond”. It’s almost scary how well the two songs come together, showcasing Ella’s musicality to the fullest. While her latest album, everything, in time, lends itself perfectly to an intimate jazz performance thanks to its retro funk and more soulful pop sound, the hits most people know her for need brand-new arrangements. Together with her talented band, consisting of keys, guitar and bass, she transforms dance music into unexpected stripped-back versions. Tonight ‘Deep Down’, her collaboration with Alok that reworked The Bucketheads’ ‘The Bomb!’, goes fully back to basics, showcasing just how strong its memorable hook is and proving that all it needs is an incredible vocalist. Ella jokingly tells the crowd that tonight’s version of her other DJ collaboration, ‘Came Here For Love’ with Sigala, is the perfect love song. Press record and remember to use this live version for your wedding. The night celebrates her new music but wouldn’t be complete without throwbacks to her debut album, Feline. The highlight of the evening goes to ‘If I Go’. Following recent developments in her career, the lead single from her debut album takes on a whole new meaning. Vocal surgery during the pandemic and creative disagreements with her former label prompted a major turning point, leading the singer to go independent. As she emotionally sings, “But if I go, will you love me? Will you love me until I can? And do you know, will you want me? Will you want me like that? And if I leave, will it end?”, it feels like a direct ode to the fans who showed up at the venue tonight. It gives us chills to think about the uncertainty that comes with going independent, not knowing whether your fans will come along for the journey. Hearing the crowd singing back each word answers that question. Magical. Ella announces that 'Hell Yeah' is her last song, and the incredible show comes to an end. The evening seemingly finishes right there, without an encore. The crowd strongly disagrees. Even as the music starts playing and the lights come on, they keep the standing ovation going, begging the singer to return to the stage. While some people leave the crowd, taking the signs of the show's ending seriously, others refuse to give up. Persistence pays off as Ella and her band surprisingly return, explaining that this really wasn't the plan and that they were already ready to leave the venue. They simply had to come back and give us one last taste of her discography. She can't promise to get all the lyrics right for this spontaneous final song, but she does promise to leave on a high as she energetically performs ‘Just Got Paid’. We leave the building buzzing. It might be near midnight on a Monday, but none of us want the night to end. Photos by Stephen Golden
The album title alone does an excellent job of awakening curiosity. Oh, The Doubt Among Us suggests themes of uncertainty, dividedness and self-doubt. Before even hitting play, it already invites you to pay attention to the lyrics and sounds that will be presented in the body of work. Even though Khal!l put out his first album Heart in 2023, this is the one he’s calling his official debut, a clean slate. We can see why Oh, The Doubt Among Us is presented as a brand-new start, marking the debut of his newfound sound and confidence. The album reflects on the past year and a half of his life, capturing a period of personal growth and reconnection with his faith. The American artist recorded much of the album in an old church building in his hometown of Milwaukee, giving the project a meaningful connection to home. His godmother provided him with the space when he needed somewhere to create, making the album’s origins feel particularly personal. Produced, mixed and mastered by Khal!l himself, it’s no wonder the project feels so personal and up-close. He bares it all on ‘I CONFESS’: “Responsibility is settlin' in. I make your bed but I don′t know, yeah, which way to go still, no. Is there anyone in love still?”, over a slow, distorted R&B production that wouldn’t sound out of place on Dijon’s Baby. We can’t help but bring up his name, as some of the songs take us straight back to Dijon’s latest critically acclaimed album. When Khal!l hits the 2:30 mark on ‘PROMISE’ and repeatedly sings “baby, baby, baby”, it feels like it must be a reference. The album takes us out for a good time when we reach ‘IF ONLY’. The track draws inspiration from mid-90s East Coast hip-hop, meeting smooth, soulful R&B over a funky bassline. From the opening beat, it’s a direct ode to Biggie’s ‘Hypnotize’. With its funky, danceable hip-hop beats feeling reminiscent of the classic. As we get closer to the end of the song, the track shifts direction. The otherwise dominant production makes room for a more stripped-back section. The change in feeling is almost as if we’re listening to an oddly layered and isolated sample of a Michael Jackson song. Could the different sections of the song be evidence that this is an ode to his idols? Where Amazing Grace is usually about redemption, forgiveness and finding hope through faith, the phrase seems to take on a new meaning on Khal!l’s album. Even though the lyrics themselves breathe themes of faith and explore the deeper meaning behind the saying, the production on ‘AMAZING GRACE’ feels like they take place outside of church. There couldn’t be a bigger contrast between the sung words and the danceable beats in the production. Electronic sounds awkwardly compete with each other throughout the production, somehow making it work in an oddly distorted way. A song with such a suggestive title turns out to be the biggest experiment on the project. His airy, understated vocals drift between melodic rap and alternative R&B, bringing an intimate, almost otherworldly quality to his hazy, self-produced sound. Our favorite vocal moment comes on ‘FEELS’. The production is the most traditional R&B on the record, which allows Khal!l to make his voice sound equally traditional. Expect raspy belts and layered vocals that create harmonies, adding depth and warmth to the song. The big belts continue on ‘THE DANGER’, where the singer reaches new heights with his voice, carrying the emotions to another level. As he sings, “It′s dangerous to love me child remember. See the danger lies in what we can′t remember. So I won't denounce your weeping,” we have chills all over. The project as a whole is perfect evidence of what can happen when you allow yourself to let go of expectations and create whatever comes naturally. Music like this might leave some listeners in doubt, getting lost in a whirlwind of different emotions translated through distorted production that blends musical influences wherever possible. To us, it’s exactly where the beauty of the album lies. It’s the beautiful chaos that invites us into Khal!l’s world, and we have no intention of leaving anytime soon.
We’ve never really believed in ‘guilty pleasures’. If a song makes you feel good, it’s doing exactly what music is supposed to do, so if it also makes you feel a little guilty, let go of the guilt. Now, obviously, we wouldn’t be writing an intro like this if it weren’t leading to a song that inspired us to try to live guilt-free. Bear with us. The debut album by 30-year-old Jazzy finally arrived last Friday. The Irish hitmaker has been making history back home. With her debut single ‘Giving Me’, she reminded Ireland to support its own talent, becoming the first Irish female solo artist in 14 years to top the Official Irish Singles Chart. The UK welcomed her too: she scored three top 10 hits there before the album was even out. Peace & Patience is here, packed with the kind of music you’d expect from Jazzy: house, dance-pop and club-ready electronic sounds throughout. Towards the end, however, there’s a pleasant surprise waiting for us. The energy shifts as we move towards a more ’90s-inspired funky house production on 'Funky Flow'. At first it may sound like your usual house track, until the chorus kicks in with a punchy bassline that pulls you onto the dancefloor.. The guilty part? Something about her singing “We can get high, then low. Something about your soul. It takes me there, you know. Yeah, we got that funky flow” makes us feel she could’ve done better. But then again, the music that inspired this sound wasn’t exactly known for its deep lyrics either. Think Technotronic’s ‘Pump Up the Jam’ or Crystal Waters’ ‘Gypsy Woman’. The recipe for a good, funky house track is simple: an effective production that gets you moving, without overthinking the songwriting. Simple? Absolutely. Guilty? Not even a little.
The release of ‘I Feel’ shows what it sounds like to step outside your comfort zone. The moment the song opens up, you know you’re not here for another one of Sinéad Harnett’s usual sweet and lovey-dovey R&B songs. Her soulful voice is made for traditional R&B, which is exactly why we fell in love with her in the first place. Being taken by surprise with a fresh sound that feels both unexpected and exciting makes us dream big about the places she could go. For the recording of ‘I Feel’, Sinéad shared the studio with one of her idols. In an Instagram announcement for the song, she shared that JMSN has always been one of her favorite artists, writing, “I am constantly floored by how impeccable his discography is and continues to be.” JMSN himself is known for constantly reinventing his sound, moving from the blues- and soul-inspired ‘Talk Is Cheap’ to the explosive, metal- and rock-influenced ‘Click Bait’. Sinéad Harnett isn’t afraid to experiment and take a page from JMSN’s book. Together, they show exactly what a collaboration should be: the best of both worlds colliding. The track feels like looking through the window on a stormy day, watching a spectacular flash of lightning burst through the clouds. It’s euphoric, big and vocally takes Sinéad into places we didn’t even know she could go.
Mahalia is single in every sense of the word. A breakup and a label exit in the same year left her navigating independence in both love and business. Today marks the official start of this new chapter in her life. And what better way to start than by unfolding what she's been through over the past few months? With ‘the 5 stages of heartbreak’, Mahalia takes us through each of the emotions that come with it. She transports us back to those minutes, hours, even days of waiting for that pretty boy in Berlin to text back. Denial, anger, bargaining, depression and acceptance all get their turn in the song. Mahalia has no problem embodying each of these emotions, and it shines through in the lyrics, the way she delivers every word, and the music itself. Each stage shifts the energy and direction of the song, almost making it feel like an entire EP condensed into a single track. At 1:50, depression takes over. Her decision to represent this stage with a jazzy instrumental section is simply perfection. With her voice stepping aside, we’re left sitting alone in an empty room with the music and our emotions. The highlight of the song comes during the final stage of heartbreak: acceptance. It's the moment you find your way back to yourself and can confidently sing, “It is what it is, get up, sis. Pretty bitch.”