Jameson Tabor does his magic again, bringing a sensitive matter to the table through funky rhythms and a danceable groove in his latest single, “In the Glove.”
The Los Angeles-based artist, Jameson Tabor, follows Michael Jackson’s musicality mechanism, as he surely knows how to effortlessly make one loosen up while delivering alluring, meaningful storytelling at the same time.
“In the Glove” conveys a melancholy theme in a quite vibrant and rhythmic manner. The beauty of the song is that it’s unpredictable. Tabor manages to keep the first half of the song highlighting his vibrant artistic identity by blending pop with funk and disco. Nevertheless, it moves in a more vulnerable take on the bridge and illustrates the pain of being taken advantage of with polished sensitivity.
It’s not a pleasant feeling when you trust someone and consider them close, and they betray your trust and use you. Tabor utilizes his explicit, emotive storytelling to tell a personal tale that can be relevant to others. His sugary, charismatic vocals depict the bitter sensations while he maintains a dynamic attitude to match the euphoric composition’s energy. His voice harmonizes with the instrumentation and keeps one on their feet. It’s hard to tell you which part will stick in your mind because all verses are contagious.
What makes Jameson Tabor a distinct artist is demonstrated in this song, which strikes a balance between ravishing soundscapes and offering a rare side of masculinity. He has the ability to make one confused about whether to throw a party to bounce with his music or to be sentimental and conjure up their own memories that are relevant to the lyrical content. But the answer is easy: why not enjoy doing both?
We’re going on a breezy trip that needs no packing or arrangements. All you’ve got to do is let the emerging pop artist Tarra take you to the vibrant realm of “Time of Our Lives.”
Tarra is a nineteen-year-old singer/songwriter from Mumbai who has energetic vocals and positive lyrical content that can fire a spark in the world’s darkness. Once I heard her latest single, “Time of Our Lives,” I found a resemblance between Tarra and Taylor Swift because of how she writes, detailing colorful views, mentioning places, and daydreaming. And according to Rolling Stone India, this is not just my opinion, as they called her Indian Taylor Swift.
“Time of Our Lives” is a definite feel-good song that needs one listen to carry you, whatever your mental state is, to its own vibe. The tune is structured to give the same charge of adrenaline that traveling does. It’s like rooming the world in your room while the composition, vocals, lyrics, and production all combine to make your magical vehicle in this escapade.
Natural sounds of waves and birds open the song. Mellow acoustic chords and atmospheric synth pave the path for Tarra’s soulful, zealous vocals to enter and ignite the mood. She has a young, dazzling timbre that lifts one’s spirits.
The catchy guitar riffs, bright synth notes, and dynamic claps, and how they all came together through brilliant musicality, undoubtedly captured the getaway spirit. Her carefree, gleeful performance conveys the notion of lyricism. You’d be drawn to the euphoric ambiance if you read the lyrics separately because the talented musician knows how to use words to create a cinematic, alive scene.
This is more of a summery song, and the airy, bliss-to-the-eyes music video confirms this. So, I guess Tarra is booking a top spot on your new summer playlist.
Now I can leave you to groove with the song while enjoying a fact about how its making process witnessed its own adventure:
“Time of Our Lives”. Just like the theme of the song, travel, and adventure, the song has traveled all over the world. Tarra wrote and recorded the track in her hometown, Mumbai, produced it remotely with Nashville-based billboard-charting producer Taylor Franklyn on zoom, and finally finished it up with the help of Miami engineer Austin Leeds. The music video was filmed in Dubai.” – Tarra
Francis Blvd released his latest album ‘Radical Neutral’ on all streaming platforms.
He stated: “Here I am, boldly introducing myself. As an introvert, I’ve usually avoided being under the spotlight even as an artist, but I’ve challenged myself to leave my comfort zone.”
The song comes from his self-produced album, Radical Neutral, which is a peek into his life. “I’ve always had a fear of making an album that would share too much about myself with the world, but I think as an artist I felt that I needed to be honest, and allow it to be really relatable for people to care and enjoy.” – Francis explained.
He also clarified: “I have my family to thank for influencing me to become a better person. Their qualities and values have become a part of me, and along the way I have used their strengths to help forge my own path to become the person I am today. Instead of letting the river carry me down the currents, I am active and decisive, which is why I can now say that this new ambition, All Came From Me.”
FEATURETTE is a late night snack of gritty earporn with hooks you can sink your teeth into. Think Flume meets NIN with a little Billie sprinkled in there. Female fronted by Lexie Jay (Vox) and backed by bandmates Marc Koecher (Keys/Synth/Guitar) and Jon Fedorsen (Drums/Synths), the Toronto-based genre-bending project are ready to carve out their own niche in the market with their dark, bouncy, and addictive beats.
“Cocaine” is their comeback standalone single and their first new release since 2021. This song was born from indulgence and leaning into the chaos, when it comes to love obsession. They say that love is a drug, and that’s exactly what Lexie Jay wanted to convey. The track rushes like a fluttering heartbeat, it’s full of run-on sentences and cyclical thoughts, it’s absolutely relentless, and gives no relief.
“Obsession has been a topic I’ve been stuck on since the pandemic started,” says Lexie Jay. “Too much time to think, coupled with a racing mind, has been a recipe for disaster, so I started writing some of my thoughts down. There is definitely a truth to ‘too much of a bad thing’… but it can be hard to resist.”
Dottie Andersson is a songwriter from Småland, Sweden.
Picture-perfect, smooth pop is the opposite of what Dottie stands for. Her weekday breakfast consists of a large can of Monster-Energy, which is a good example for the energy she creates in her songs: To not take yourself too seriously, to have a grand plan, to do everything differently compared to a mere mortal. In her lyrics, Dottie describes pitfalls alternating with high highs turning life into a rollercoaster. Always online, never less than 15 stories on Instagram, always ironic while emotions are always around the next corner.
Dottie grew up in a musical family, studied drums (what else?) and was part of the band Ason, alongside her three younger sisters, playing support shows for Milow and Matt Simons among numerous festival shows. Now, she has found her own sound, influenced by acts like Veronica Maggio, Bon Iver, Caroline Polachek or Phoebe Bridgers and displaying real attitude and a (very Swedish) sense for pop melodies among electronic and indie elements. A sound that holds the potential of captivating Indie-Nerds and Pop-Maniacs alike. Dottie shares, “It’s finally the music I wanna make, music that comes directly from my Swedish veins and that is authentically me. This first EP is like breaking loose from a kind of chain that’s been holding me the past couple of years.”
Dottie Andersson‘s debut single “Heavy Objects” is a song about letting go of the emotions and situations that drag you down. It conveys sweet melancholy, charming cheekiness and a hint of stubbornness, all held together by her pin sharp attitude. A little bit of everything that Dottie stands for. “Heavy Objects” is the first of a whole string of songs recorded with producer Martin Baumgartner in Hamburg since 2020. It was mixed in Los Angeles by Jeff Fettig (Caroline Polachek, Maggie Rogers, Solange) and mastered in New York by Joe Lambert (Sofi Tukker, Daughter, Moby). The accompanying video was filmed as a spontaneous one-take by photographer Nic Schoppet.
Dottie Andersson is a songwriter from Småland, Sweden. And soon a whole lot of people will know.
Hailing from the small city of Lancashire, Molly Warburton is armed with unparalleled strength and individuality. Her tough exterior blends with her soft, vulnerable core – a combination that shines brightly across her growing repertoire. Through intoxicating indie-pop melodies and a powerhouse of vocal energy, Warburton proves that at her core, she is a truly passionate storyteller, bringing her chronicles to life with the vibrancy of her sound.
Picking up the guitar at just ten years old, the musician grew up embarking on several competitions and later studied music. As her love for the industry grew exponentially, she started gigging in her teens and has been ever since. Bringing her unique musicality to the ears of budding listeners everywhere, she lights up the room with her truly contagious indie pop anthems and positive outlook on life.
Her latest single “Gravity” takes inspiration from her own experiences and her love for music. The songwriter confides, “Many may think it’s about someone but actually it’s about something. I guess when being a musician you can fall in and out of touch with your sounds, inspirations and passion for your music. When I wrote ‘Gravity’ I had just recently been through this cycle feeling very uninspired to perform or write new music, almost falling out of love with it, but after taking some time out and realizing what I had achieved and developed through music I found this new energy, new sounds and a new love for my music.”
Emitting a dreamy, ethereal quality that builds into an uplifting and infectious pop-fuelled chorus, “Gravity” is sonically inspired by the likes of Fleetwood Mac, KT Tunstall and Kate Bush.
Warburton stands up for a generation with ambition and a desire to make a difference. Her mission to overcome hardships and negativity is delivered with revelatory freshness and pragmatism. Emphasising the importance of remaining true to yourself and sticking to what you love, she confides “I hope to think it inspires young artists to follow their musical ambitions in life. I think music is a hard industry to conquer and I like to show my journey through my songs.” In an ode to authenticity, she hopes to inspire young creatives to persevere, no matter the scale of their next endeavour.
With over one million streams on Spotify alone, the artist has seen her music land on renowned playlists such as New Music Friday, New Pop UK and Chilled Pop Hits, to name a few. Garnering humbling support from the likes of Earmilk, Music Crowns and NOTION, she has performed at countless festivals and venues around the UK and Ireland, including London’s Shepherd Bush Empire, Manchester Ritz, and O2 venues across Leeds, Liverpool, Bristol and Birmingham. Appearing on the festival stages of Highest Point, Kendal Calling and Forgotten Fields, she supported Tom Meighan on his 2022 tour, and even appeared as BBC Introducing Lancashire’s Record of the Week! Needless to say, Molly Warburton is set to soar in success.
Introducing Italian-born, London-based, Alice Pisano, a rising star in the contemporary pop scene. Blessed with a uniquely warm and silky voice, Pisano has a natural ability for writing relatable, emotive songs that connect and since her debut in 2019, she has garnered a fantastic name for herself.
Her five-track sophomore EP, Shattered But Still Cool, is a collection of songs about the tribulations of love and dating, from the frustrations of dating apps (Boys Like You), to the first spark (Ink), to falling in love (Where My Heart Is) and dealing with a cheating partner (Pretty Girls). Through honest songwriting, Pisano shares her vulnerabilities delivering them in the most infectious and shimmering pink package.
Pisano worked alongside acclaimed songwriters and producers on the EP, including Jez Ashurst (Little Mix, Maisie Peters, Tom Grennan), Anthony Goldsbrough (toured with Ed Sheeran, Clean Bandit), Gavin Powell, (Emeli Sandè, Jake Isaac) and Dan Cox (Laura Marling, Peter Doherty). Sonically inspired by the likes of Nina Nesbitt, Gabrielle Aplin, Astrid S and Julia Michaels, Shattered But Still Cool isa deliciously addictive release, showcasing the singer’s impressive vocals, sugar-coated melodies and vibrant synths.
“Pretty Girls” narrates a very personal experience for the songwriter. She shares, “I was dating someone who seemed very smitten and in love, only to discover he was actually dating other girls at the same time. I was furious when I wrote this song and it was very liberating!” “Pretty Girls” results in being the perfect mood booster. This is the anthem for anyone who has been messed around by their partner (or situationship), a reminder that they’re not alone and that they deserve so much better! The EP also features an acoustic version of “Where My Heart Is” recorded at Spotify Noteable Studios in London.
Accumulating a huge amount of Spotify editorial support, the first three singles from Pisano’s upcoming EP – “Boys Like You”, “Ink” and “Where My Heart Is” – made their way to Spotify’s Global Fresh Finds playlist, 6 New Music Fridays, New Pop UK, as well as many more editorial playlists. As well as garnering critical acclaim from online tastemakers including Clash, Earmilk, Wonderland, METAL and Atwood Magazine, “Boys Like You” was regularly played on BBC Radio Wales and Pisano was also interviewed live by H from Steps on his Friday Night show. With “Ink” and “Where My Heart Is” Pisano hit a major milestone in her career, as both tracks were played on BBC Radio 1’s Future Pop Show.
Pisano played two shows at The Great Escape Festival 2022 and was one of the first 50 artists to be announced. With shining global success, her debut single “Celebrate Life” garnered over four million Spotify streams alone. Following her successful debut, Pisano also had four singles enter the iTunes Pop charts, numerous radio plays on stations including the BBC and over one million views on TikTok with her single “September”. Her single “Open Up” was featured as the soundtrack to the summer trailer of the British hit TV series Hollyoaks. Needless to say, Alice Pisano is quickly establishing herself as one of the most exciting new artists on the pop scene.
Alice Pisano will be performing her first ever headline show at The Grace, London on the 9th Feb. Get tickets HERE!
Shaina Wexler is a “one-stop” (singer/songwriter, producer, mix engineer) who creates inspiring, emotive, epic and symphonic songs featuring soaring female vocals with tracks in both English and French!
“The Heart of Me” is a whimsical, upbeat, and ethereal song celebrating the daily joys of life-long love. The full and floating female vocals layer in multiple harmony lines and playfully mix French into the choruses. This song features unique and fun rhythmic sections incorporating djembe, shakers, wood block, glockenspiel, marimba, triangle, tambourine, drum kit and more! This song will warm and raise your spirits while giving you a reason to groove!
Based in Laval, QC, Francis Blvd. is the solo project of Francis Gabriel-Alexandre. Francis delivers a fusion of r&b, hip hop and an occasional touch of jazz elements led by soulful tenor vocals. After years of playing in several bands/collectives and in multiple shows, Francis started performing mainly as a solo artist in 2019, releasing a few singles and working on his debut EP, Radical Neutral, that is set to release in February of this year.
His first song released from this collection, “All Came From Me,” is a great introduction to him, as a person and as a songwriter. At the same time that he praises his family for making him the person he is today, he also breaks the connection with a toxic relationship with his biological father (also named Francis), refusing to give him acknowledgment for his own negative traits.
The latest album from Terry Blade is entitled “Ethos: Son of A Sharecropper”, and it is a nostalgic beast of an Americana/Folk record. The album spans 10 songs with spectacular riffage and heartwarming lyrics, so please allow me to break down what each of these 10 tracks has in store for fans and listeners.
1- Come Home
The opening track showcases the amazing elements that the record is filled with, from the warm tone of vocals to the eargasmic harmonica, everything is just in its right place. The track’s simple and mellow chord progression makes the moments with grittier vocals have more emotional impact and shine as being both musically and lyrically heavy in between the relatively somber music behind them.
2- Won’t Be Around
This track has a stomp-clap pattern in its percussion and a more cowboy showdown kind of melody but the cherry on top are the vocals for sure. The vocals here are part RnB Soul and part musical theater performer with attitude. There’s nothing as refreshing as a singer who has a strong and resonating chest register. While most vocalists nowadays rely on doing vocal acrobatics and crazy high notes with head voice and falsetto, Terry will blow your mind away with his chest mid-belts that sound forward and full and seamlessly match with his resentful demeanor in this track’s lyrics. This is one of those tracks that becomes an instant favorite once you hear it.
3- Rigor Mortis
Fast-paced fingerstyle guitar, soft percussion, and beautifully-layered vocals. Those are the ingredients of the recipe for a masterpiece. This track was just so sweet that it felt like it ended way before it should have. The guitars had that effortless flow in their progression and sweet tone, and if it were up to me, I’d make a second part of this song on a future record with some similar melodies or lyrics to connect both tracks.
4- Rainbow Child
This one’s a much slower and longer (ballad-type) track. The strumming pattern is a great stage for all the surrounding harmonies here, be it the backing female vocals or the occasional harmonica. As for the lyrics and the emotional delivery of Terry, it sounds like a very personal story full of self-reflection and a message to his younger self. To top it all off, there is an extended guitar solo that will give you goosebumps before one last chorus is sung in a heartful and tear-shedding demeanor.
5- Talk About It
More beautiful chord progressions, but the vocals are more like a storytelling movie soundtrack here or a children’s lullaby perhaps. It really felt like Terry is welcoming the listener to “talk about it” with open arms and frankly speaking, before listening to this song I couldn’t think that you could presume a person is kind only by listening to their singing voice, but this is definitely the idea you will get once you hear Terry’s vocals here.
6- Fiddle & Banjo
This one is a short break from the emotional intensity of the record and it has a conversation about some fiddle and banjo players with a few melodies in its background.
7- Wasn’t Mine
Once again Terry tackles a lyrical theme that’s deceptively simple: accepting something that isn’t destined for you. There is no better way to convince yourself with that notion though than to listen to Terry’s impeccable vocals accompanied by the amazing strings. The instrumental section in the middle here will take you straight to the good old days when country music was the only kind of music around.
8- Grandma’s Kitchen
This track is the most anthemic and sing-along chanty track here. And it has an actual mix of the fiddle and banjo that track 6 was speaking of. I really love it when a track can be as descriptive and thought-provoking as this one. I could really imagine the scenery of women cooking and telling their children off as they playfully disturb them, there is just something about that fiddle melody that makes it feel like it came straight out of an old Americana movie.
9- Jimmy James
Another emotional ballad that tells a story. I loved the phrase “his body was frail, but his mind was built to last” more than anything. This track has elements that are simultaneously modern and nostalgic, as you can barely hear any percussion up to the gut-wrenching emotional guitar solo but you can hear some soft percussion in the last chorus and outro after it. This song is beautiful for sure but in a very tragic way.
10- In My House
More bluesy/soulful singing here aided by a melodic clean guitar and a grand piano. Although we are on the final track, Terry doesn’t let go of one bit of his attitude, vibrato, and enunciation that make his singing unique and unpredictable. In the last 30 seconds of the song, all the instruments stop playing, except for Terry’s singing and the ensemble of backing singers/layered vocals that he has. It was a very ominous yet well-timed moment, but it felt like he was trying to emphasize those lyrics then the whole album closes abruptly right there. To say it ended on a high note would be an understatement.
In conclusion, this album blurs the lines between being genre-defying and genre-defining. It is in no way a play-it-safe record or one that takes everything back to basics, but it brings a great number of beloved country staples that will appeal to purists and lovers of the genre. I don’t really think any of the album’s 10 tracks would feel out of place if you put them in a country-only playlist, but what’s revolutionary about this album is that those who are not too fond of country and Americana will find groundbreaking vocals and instrumentation that they can enjoy right here.
