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.
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.
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 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.
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.”
The sophomore album is the scariest one in a pop star's career. Expectations are high, curiosity about ‘what will they do next?’ is building and the pressure to live up to your debut can be demanding. That second album might be scary for some of the biggest artists in the world, but not for the cool and collected Rachel Chinouriri. She jokingly explained on UK radio how she went out for coffee with Olivia Rodrigo, discussing the release of her second album. Olivia had asked her how she was feeling about the upcoming release, to which Rachel responded that she would also be scared if she had the incredible rollout of a debut album like SOUR, with ‘drivers license’ on it. Personally, though, she wasn't feeling any pressure at all. It's pretty clear that Rachel has remained down-to-earth and has perhaps even underestimated how much the world fell in love with her after the release of her debut album, What a Devastating Turn of Events. Whether the lack of pressure has helped her or not, she has cooked up an incredible follow-up album with I think I spoke too soon. No wonder she's so chill about how people are going to receive this body of work. It's the perfect follow-up to our first meeting with the UK singer. Her debut album explored her identity as a party girl, with incredible songwriting about addiction and self-reflection. These themes carry over into I think I spoke too soon, but with a fresh perspective. After years of working and being perceived by the public, Rachel began questioning whether the person she thought she was might have been an incomplete version of herself. This critical look at herself has resulted in some of her best songwriting yet, exploring themes such as sobriety, growing up and estranged family relationships. As a songwriter, she isn't afraid of being an open book. On ‘Baby Steps’, the singer discusses her complicated family relationships and the difficulty of navigating estrangement from relatives. Sometimes, the expectation of a massive breakthrough to get back to ‘what once was’ is simply unrealistic. Instead, you slow down the pace and take baby steps to repair the relationship. But these attempts to make things better can feel like too little, too late. She sings, ‘I'm sick of taking baby steps!’ over a synth-pop production that feels glossy, calm and almost dreamy. Recently, we had the opportunity to see the hitmaker live in concert. During the show, we had the honor of getting an exclusive first listen to ‘AAAHHH!!!’. We fell in love with the song right there and then and couldn't be happier to finally have it on streaming platforms. The song is unmistakably British in every way. The vocal delivery and sound scream UK pop. Hearing it instantly transports us back to the days when we'd listen to VV Brown non-stop. We can't help but wonder whether she was on the mood board for the creation of this song. Our favorite moment on the album comes when we reach ‘Shiver’. Upon first listen, we didn't feel much when hearing it, as it seemed like a shy number amidst all the shimmering synths, danceable grooves and euphoric pop moments. Once we took the time to sit down with the song in a dark room and let it shine in its full glory, we were sold. The arrangement is built to take you on a journey. It starts off soft and almost cold, with Rachel sounding lonely as she sings over the music, almost as if she's afraid to be heard. As the song continues to build, we reach an overwhelming moment in the production where the instrumentation takes full control and bursts into an anxious explosion. In the best way possible. The album as a whole does an incredible job of exploring whatever you have going on in your life while you keep dancing through these difficulties. From start to finish, it feels like Rachel takes us along on a night out. From the moment you enter the club and want to dance the night away with ‘Pretty Girls’, to the moment self-doubt takes over and you start reflecting on who you are, which she discusses with humor and theatricality on ‘I'm a Star’. The night gets so out of hand that you start comparing yourself to a discarded, broken chair you encounter while walking home. The chair becomes a metaphor for feeling damaged, abandoned and difficult to love, making ‘Broken Chair’ another highlight on the album. Rachel moves beyond the indie-pop and alternative-rock sounds associated with her debut, embracing shimmering synths, danceable grooves and bigger pop production that take the listener into a more joyful, healthier phase of her life. She thinks big and bold, showing us why she didn't have a worry on her mind when releasing her sophomore album. An album this good? No worries needed!
Canada-based Charlotte Cardin is no stranger to jumping between languages in her music. Growing up in Montréal, where French- and English-speaking music scenes coexist, moving between the two has always felt natural to her. She has explained that certain stories and emotions feel more suited to one language than the other, and her latest single, “Memories”, from the forthcoming album Midnight, mon amour, deserves a version in both languages. “Memories” was initially written as a sad, moody ballad before turning into the retro-tinged, dance-pop song with soulful, disco-inspired influences that it is today. The song explores how our memories can change as we repeatedly revisit them, with our present emotions gradually colouring how we remember the past. This is also part of the reason why the song exists in both French and English. Language changes how we experience or communicate an emotion, and singing the same song in two languages can create two subtly different emotional perspectives on the story behind it. We love how she brings both parts of her bilingualism together in her artistic identity.
French singer-songwriter Pomme returns with ‘seule dans la foule’. For those who don’t speak French either, it directly translates too ‘alone in the crowd’. The emotional and personal song is the lead single of her upcoming album la forteresse, out November 20. With her distinctive vocals and intimate songwriting, she reflects on societal expectations surrounding family, identity and the music industry. Questioning what it means to find your own path beyond the roles others imagine for you. Drawing inspiration from medieval imagery, nature and mythology, la forteresse promises to explore a world as personal as it is fantastical. Known for her delicate soundscapes and distinctive use of the autoharp, Pomme continues to push her artistic boundaries while exploring themes of identity, freedom and belonging. Following the international success of ‘Ma Meilleure Ennemie’ with Stromae, the French artist offers a glimpse into a new chapter that puts creative independence and self-discovery at its heart.
Some bands find their sound. Others build an entire world around it. Fontaines D.C. have been doing both, steadily growing from their post-punk beginnings into one of the most distinctive bands of their generation. Following the success of Romance, the Dublin five-piece return with Dopamine Chamber, an album that feels bigger, bolder and richer than anything they’ve done before. It’s a moody, almost autumnal body of work, pulling us into a shadowy world of atmospheric production, deep vocals and moments of unexpected beauty. Opening track ‘Six Shot Morning’ sets the tone beautifully. It begins in a dark, brooding space, slowly building tension before opening up into something far more expansive. The production gradually reveals new layers, drawing us deeper into the atmosphere the band have been building over the past two years. It feels like an invitation to step inside and leave the outside world behind for a while. As an introduction to this new era, it does exactly what it needs to do, establishing the mood while giving us a taste of just how far Fontaines D.C. are willing to take their sound. The album largely stays within that shadowy sonic landscape, making ‘Mimesis’ all the more refreshing. Musically, it feels more upbeat and brings a welcome brightness to the record. But while the sound might feel lighter, the lyrics are still dealing with heavier themes of emotional distance and frustration. It’s that contrast that makes the track stand out. Grian Chatten’s unmistakably deep vocals remain at the centre, but here they seem to open up and take on a different kind of brightness. ‘Japan’ offers another standout moment, with a quirky, cheeky delivery that initially feels a little more playful than much of the album. Underneath that sardonic edge, however, lies a darker story about a woman and her absent boyfriend, told through what feels like a stream of gossip. It’s this contrast between the song’s playful character and its more uncomfortable undertones that makes it so intriguing. Then there is ‘Where Is Gone?’, the stunning collaboration with ROSALÍA. When the pairing was first announced, it came as a unexpected surprise. Fontaines D.C. had never featured a guest vocalist on one of their albums before, and bringing the Irish band together with the Spanish superstar was not an obvious move. Yet, from the first listen, something clicked. Now, hearing the song within the context of the full album, it makes even more sense. ROSALÍA has been building a distinctive world of her own around LUX, one that continues to grow and evolve with every live performance she does. Fontaines D.C. seem to be moving in a similar direction, creating a sound so unmistakably theirs that it allows them to build something far bigger than a collection of songs. ‘Where Is Gone?’ feels like two artists meeting inside their own carefully constructed universes. There are quieter moments, too, that show just how much emotional weight the band can carry without needing to turn everything into a grand statement. ‘You Miss Me’ is one of those songs that leaves you sitting with your feelings for a little longer. It fits naturally into the album’s more melancholic atmosphere, adding another layer to a record that feels as concerned with the spaces between its biggest moments as it is with the moments themselves. What makes Dopamine Chamber particularly exciting is how considerate it feels of where Fontaines D.C. are in their career. Their growth over the past few years has been enormous, and this album sounds ready to meet that moment. The production feels fuller, the arrangements more expansive and the songs built to fill much bigger venues. You can imagine these tracks reaching across an arena, with every atmospheric shift and swelling instrumental creating a moment for thousands of people to get lost in together. The music has grown alongside them, allowing their sound to become more ambitious without losing its identity. Dopamine Chamber is a record that rewards being experienced as a whole. It is dark, immersive and occasionally surprisingly tender, with a richness that makes it feel tailor-made for the next chapter of the band’s journey.
Snoh Aalegra recently made a mysterious, unannounced return to the spotlight. The comeback marks her return after a three-year break since the release of her latest album, Temporary Highs in the Violet Skies. Out of the blue, she posted a video of herself driving around in the back of a vintage BMW while new music played in the background. ‘Run Free’ had us excited about her comeback to music. While the track itself never appeared on streaming platforms, it hinted at what is now official: Snoh is back with new music! The first official taste of her upcoming fifth studio album, A Legendary Love, is ‘Karma’. Snoh is not trying to hide the fact that this vintage, guitar-led R&B ballad is heavily inspired by one of her idols, Prince. There is an undeniably beautiful nod to the icon, and it almost feels like the female counterpart to his timeless music. The stripped-back production gives Snoh all the space she needs to deliver the lyrics with emotion, resulting in one of her best vocal performances to date. All the tastes we’ve been given so far lead us to believe we could be in for one of her most personal and best records yet.
There is no slowing down the highly pregnant Leigh-Anne. She is currently appearing on The Celebrity Traitors UK, sharing posts on her Instagram feed of her in the studio with longtime collaborator Kamille, and getting ready to give her fans exactly what they’ve been asking for. Last week, the former Little Mix singer posted an Instagram Reel hinting at new music to come. Don’t worry, though, we are not leaving her solo-debut My Ego Told Me To era just yet... Fans have been begging the singer to release a deluxe edition of the album. Cleverly, she is releasing a brand-new edition called My Ego Told Me To Do A Fan Edition, featuring brand-new music. The first single is not just for her fans though. It is a direct shot aimed at her haters. On ‘Clickbait’, she sings directly to all the naysayers questioning whether Leigh-Anne will make it on her own after the success of Little Mix. She sings “Throw your dumb opinions out the window!” and “Brick after brick, stonе after stick. No broken bones, but my namе's on your lips. I don't know why you mad, maybe go touch some grass?”. Shots fired!
Clean’s most-listened album of the year is, without a doubt, gutta child. With just eight songs on the project, it’s no wonder we’ve been craving more music from the talented newcomer. Gabriel Jacoby has the kind of voice that always leaves you wanting more. His raspy, blues-inflected, soulful vocals balance earthy grit with a surprisingly tender falsetto, seamlessly blending the rawness of Southern blues with the smoothness of contemporary R&B. Dominic Fike has already tapped into his magic, bringing Gabriel on board for his latest single, ‘Small Town’. But now, it’s finally time for brand-new solo music. The next chapter for Gabriel Jacoby isn’t about reinventing his sound. Honestly, why would he, so early in his career, when he’s already found something so distinctively his own? ‘let’s talk about it’ simply picks up where gutta child left us. It’s another Southern R&B offering that showcases his ability to move effortlessly between a rougher chest voice and a softer, delicate falsetto, before landing on a warm, soulful vocal delivery in the song’s brilliant bridge. He leaves us in no doubt as to why he’s our, and Michelle Obama’s, favorite new kid on the block.