Lo Lauren releases new single ‘Rose & Jack’: A Heartfelt Ballad Steeped in Nostalgia
Lo Lauren releases new single ‘Rose & Jack’: A Heartfelt Ballad Steeped in Nostalgia Lo Lauren has steadily emerged as one of the most exciting new pop artists on the UK music scene, and her latest release, Rose & Jack, is a testament to her impressive range as a performer and songwriter. The track arrives as part of her upcoming EP, Wonderlust, which is set to drop on April 25, 2025. Known for blending 2010s pop influences with her own fresh songwriting style, Lauren’s music has drawn acclaim for its honesty, emotional depth, and infectious hooks. By Isaac phelan Currently Listening to: Rose & Jack is a heart-wrenching ballad that highlights Lo Lauren’s softer, more vulnerable side. Penned alongside longtime collaborators andysocialclub, Carys Selvey, and BlueGirl, the song reveals a stripped-back, emotionally raw performance. Lauren’s delicate vocals take center stage, gliding over gentle piano chords and subtle string arrangements that provide warmth without overwhelming the song’s intimate atmosphere. The track’s title nods to the iconic Titanic characters, yet rather than retelling the film’s story, Rose & Jack uses this reference to explore the emotional weight of a secret relationship — one filled with longing, passion, and unspoken connection. The storytelling feels deeply personal, and Lauren’s tender vocal delivery amplifies the emotional resonance. This sincerity shines through in her performance, as she taps into the vulnerability that makes the song so relatable. The accompanying music video wacks this feeling up to a hundred, depicting Lauren auditioning for the role of Rose, and ultimately failing to secure the role. It’s a remarkable narrative piece, and continues Lauren’s streak of producing high quality videos to accompany her music. For her previous single, Born To Run, Lauren spent three months learning the entire song backwards to create a stunning ‘reverse’ music video, a testament to her uncompromising artistic vision. Rose & Jack follows a string of successes for Lo Lauren. Her previous releases, Before The Kiss and Wonder, earned her significant industry recognition, including a feature on YouTube’s ‘Pop Fresh’ playlist and a coveted spot as BBC Radio 1’s ‘Future Bop’, chosen by Mollie King. Before The Kiss even caught the attention of Hollywood director Jordan Weiss, who featured the song in the trailer for her film Sweethearts on HBO Max. Beyond her recorded music, Lauren’s growing presence in live performances has cemented her as a standout act. After supporting acts like Mercer Henderson and playing a sold-out show at The Grace in London, she performed for 25,000 fans at The Hundred cricket event, sharing the stage with major stars such as Cat Burns, Zara Larsson, and Nell Mescal. As Lauren prepares to release her debut EP Wonderlust, fans can expect a project that captures the emotional highs and lows of navigating one’s twenties — a theme that resonates deeply in Rose & Jack. As anticipation inevitably builds for her long-awaited EP, Rose & Jack stands as a striking example of Lauren’s ability to craft deeply personal, yet widely relatable music. With a growing fanbase, notable industry recognition, and a clear artistic vision, Lo Lauren is undoubtedly poised to become one of the UK’s most exciting breakout artists. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
“I spent so much time in the city and it inevitably has had an influence on who I am and my sound.” Interview with better joy
“I spent so much time in the city and it inevitably has had an influence on who I am and my sound.” Interview with better joy Last week, I had the pleasure of interviewing better joy, an exciting rising artist whose distinct alt-pop sound has quickly caught the attention of indie enthusiasts and critics alike. Her music beautifully balances gritty guitars and captivating melodies, elevated by Bria Keely’s honeyed vocals and insightful, vulnerable lyrics. Words by Isaac Phelan Currently Listening to: better joy has been described as a roller coaster ride, offering unexpected twists that thrill listeners and defy expectations. With nods from tastemakers at BBC Radio 6 Music, NME, and DIY, she is swiftly emerging as one of the UK’s most anticipated indie breakthroughs. During our conversation, we discussed her new single “quiet thing,” an introspective track highlighting the understated beauty of everyday moments in relationships, perfectly demonstrating her knack for nuanced storytelling set against a backdrop of energetic, intricate instrumentation. Bria, your project better joy launched in late 2023 and quickly gained comparisons to iconic bands such as The Cure and The Smiths, as well as contemporary voices like Phoebe Bridgers. How do you personally relate to these comparisons, and do they influence your creative process? It’s a bit wild that those comparisons happen, to be honest – and if I think about it too much, I get into imposter syndrome territory. It’s flattering that people compare me to those bands and I was listening to a lot of those bands when I started writing music, so it’s cool if those influences have come through in the music. I think vocally, to be compared to someone like Phoebe Bridgers is an honour, I love her so much! Your first release of 2025 was the single ‘waiting on time’. What inspired this track, and why did you choose it as your initial release for this year? I wrote this song with my friend, Michael Champion (Wet Leg, Champs Champs) and my drummer Jamie Ford, and they’re two people who I love working with. We were just jamming in my garage and we came up with the music, didn’t think much of it. Then we just couldn’t stop thinking about the song, so we worked on the lyrics and it developed into something that’s so fun and uplifting. I loved the process of writing this song, and I think it holds happy memories for me – it makes sense that I started my EP campaign with such a positive force. This EP has been a really positive and exciting experience for me, it feels right that we started with ‘waiting on time’, a song about waiting for the right moment. It felt like the right moment to release it. This is a favourite to play live. Growing up in Cheshire, a stone’s throw from Manchester, you have undoubtedly been surrounded by some of the richest musical culture in the world: The Stone Roses, Oasis, Take That, The Chemical Brothers and on and on… Do you often find yourself feeling romantic about your life there, and does that energy bleed into your sound? I spent so much time in the city and it inevitably has had an influence on who I am and my sound. I am very proud to be Northern and proud of the musical history we’ve got. I’m definitely inspired by that Northern grit which is in so much of that music, I think music made in Manchester has a lot of soul and I hope that type of energy bleeds into my sound. Your latest single, ‘quiet thing’, explores the understated moments in relationships. Can you discuss how personal experiences shaped the storytelling in this song? So this song was inspired by a conversation I had with a close friend who had recently lost their mum. They were telling me that their relationship with their girlfriend was ‘quiet’ right now, but that it was getting him through that period. It made me think about how we always romanticize the big moments in relationships, when actually sometimes the most romantic moments are the quietest ones. You’ve mentioned the intention behind pairing the sweetness of the lyrics with gritty instrumentation in ‘quiet thing’. What was the creative process behind achieving this musical contrast? I didn’t want to write a ballad, I wanted to write a love song that people could dance to. The gritty guitars naturally make ‘quiet thing’ less ballad-like, and that was our intention when producing the song. Your debut EP, ‘heading into blue’, produced by Mike Hedges, is set for release on March 28th. How did collaborating with Mike, known for his work with artists like The Cure and U2, influence your artistic direction? Working with Mike is still a big pinch-me moment. With everything he’s done, I was a bit in awe of him to start with – and still am! – but he’s the loveliest person to work with, really encouraging and insightful. And his influences had a massive effect on the music. There was a night we were talking about Fender bass amps that were used in some of his Cure records and we were like, we have to bring them into these songs. The EP includes previously released tracks ‘waiting on time’, ‘carnival’, and ‘what a day’. How do these tracks collectively set the stage for the overall narrative or emotional arc of the project? They’re a taster of what better joy’s all about. They were all written at that point in my songwriting journey where I was starting to believe in myself as a writer and each song holds a special place in my journey. This EP feels like the first introduction to better joy. Two new tracks, ‘couldn’t run forever’ and ‘can I land the plane?’, are debuting on this EP. Could you provide insights into these songs—what inspired them, and how do they enhance the story of ‘heading into blue’? With Couldn’t Run Forever, I had no intention
New Single: Josie Oliver “Standstill”
New Single: Josie Oliver “Standstill” For fans of Holly Humberstone, Gracie Abrams and Maisie Peters, Josie Oliver is an artist that should be on your radar. The 22-year-old Midlands-raised singer is quietly but surely making a name for herself in the alternative pop and indie world, and her latest single, Standstill, released on 26th February, does not disappoint. 9 March 2025 Words by Sophie Prior Currently Listening to: https://www.youtube.com/watch?v=nyapY-A26tw Standstill is a captivating bedroom-pop ballad with heartfelt lyrics and exciting production. The track opens with Josie’s angelic voice singing the chorus line with lyrics that perfectly encapsulate the song’s message: ‘we’re running out of road, and I don’t want to let you go. So I’ll just sit and hope, we get caught up in a standstill’. Josie explained that the song is about that ‘feeling of knowing you should let go but wanting so badly to just stop in time and savour it’. These confessional and poignant lyrics, combined with layered vocals that firmly place the listener in an electronic and hazy soundscape, make the opening even more of an emotional punch to the stomach and completely draws you in. The rest of the track continues to experiment with this bedroom-pop feel, gradually introducing a steady beat, mellow piano chords, and synth sounds. Josie’s vocals are always at the forefront however, creating the feeling that she is in the room singing to you. Her poignant storytelling is something she has been praised for, including personal co-signs from stars Sam Fender and Griff who found their own love in Josie’s music. The track culminates with an emotional bridge rooted in a soft-rock style with power chords on the electric guitar and a build-up in the drums with the addition of a live kit. I like the ending of the track too, which goes back to the opening melody, but this time with just the singular vocal line and the piano chords. Reverting to the opening nicely frames the track; you’ve been taken on this tumultuous journey full of feeling before being brought back to where it all began – the realisation that you’ve run out of road and need to let go. Although only being 22, Josie has built up a loyal following, establishing over 500,000 streams across four further singles. She is authentic and knows the vision for her music, focusing on her natural talents of meticulous songwriting and confessional storytelling, and on her growing reputation for being a great live performer. Alongside the release of Standstill, Josie announced that her debut EP Listen To This When We Buy A House will be released on 28th March. Get ready! You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
It is exceedingly rare to discover an artist who is so responsive to evolution, and Taloula is one such extraordinary talent.
An independent singer, songwriter and producer, her vibrant, free-form musicality instantly marks her as one of the brightest musicians emerging across the R&B landscape right now. Her new album ‘T.E.O.T. II’ (The Evolution Of Taloula II) embodies authentic R&B and soul while balancing psychedelic textures co-produced by Taloula that feel as nostalgic as they are contemporary. Empowering vulnerability and the exploration of our existence, Taloula’s sonic journey towards inner peace will continue the heat surrounding one of London’s key new names crashing into wider consciousness.
Kings Elliot – ‘I Hate The Sun’
To advertise press kit, bio, signed status, sold venue capacity, upcoming shows / releases, create your own TNAM Database profile and direct to contact box – sign up interest to TNAM Club here. Kings Elliot – ‘I Hate The Sun’ Release Date: 6 September 2024 Release Type: Single Exposure: Next Big Thing Genre: Pop Location(s): General and Greater London Signed?: Current Venue Capacity : Streaming /Socials What do you think? You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
The Sincerity Behind Esme Emerson’s EP
PHOTO: Nick Ilott (@concrete_state) CREATIVE DIRECTOR: Lydia Cooper The Sincerity Behind Esme Emerson’s EP Big Leap, No Faith, Small Chancer 5 September 2024 Esme Emerson are an up-and-coming indie folk brother-sister duo consisting of Esme Lee-Scott (she/her) and Emerson Lee-Scott (he/they) who hail from Suffolk. They have been performing in various cities across the UK this past year with artists like Keane and The Japanese House. I sat down with the ever-charismatic siblings to talk about their inspirations, sincerity, and their new EP Big Leap, No Faith, Small Chancer. Words by Joyce Lian https://www.youtube.com/watch?v=H-39q5MiLeY Even in the way the pair introduced themselves their synergy is felt. They seamlessly alternate in their introduction, with Esme starting: “We’re Esme Emerson, siblings from–” “–Suffolk. We’re in a band together. We make broadly indie pop music but we draw inspiration from folk and–” “–hyperpop; all the good stuff. We love country… yeehaw.” Before they became the artist duo Esme Emerson, they were two kids making music during term-break music camps. Esme describes these camps: “for the week you write these songs together and then on Thursday they’d let you take the song in their studio to record it, put it on SoundCloud, and then on the Friday perform it to the parents.” And while she acknowledges that her songs were often about “ice cream and zombies,” this experience was not only their first foray into music making, but it also showed them that “‘oh, you don’t have to be an adult to do this like I can just write songs.’” Emerson, being four years older than Esme, had a very different experience, but an equally meaningful one: “I didn’t want to be in a band with my sister but we were like writing adjacent to each other. I think we just have been lovers of music since then and then we started writing together in 2020.” While Emerson’s band of older children would headline for the parent performances, Esme was likely his first and biggest fan; she is now what she calls a “successful youngest sibling,” finally able to join her brother’s band. As a sibling myself, what really struck me was their compatibility with each other. Not only are they able to be close friends, but the way they, as Emerson puts it, seem to “share a brain” contributes to their ability to make music together the way they do. Esme compares the two of them to the fictional siblings Charlie and Lola; when they were younger and the age gap felt more significant, they got along but weren’t the closest. Now, however, she describes themselves as best friends, with the “same tastes” and “same thoughts.” But as far as music goes, their teamwork is nearly supernatural. In an almost telepathic fashion, they can read each other’s minds when it comes to their creative direction. Esme started to realize how in-tune she was with her brother when working with other people: “you explaining something a little bit, or like just knowing what you want, and them being like ‘I don’t understand what you’re saying.’ I was like ‘oh wow, we really share a brain.’” Emerson also attributes their ability to fill in the other’s gaps and to lean on each other’s strengths as a large part of their co-working success. He credits Esme with leading the lyrical writing, which he claims is the “weakest part of [his] musical brain”, while Esme points out that Emerson has “a way with just sounds and textures and music” that she doesn’t. When discussing their musical inspirations, they immediately jump to shoutout Hovvdy. Along with Hovvdy, Emerson named artists Dreamer Boy, Frost Children, and Roji Sakamoto (Emerson was a Film Composition major in university), while Esme included Dijon and Adrien Lenker. Esme, who is in charge of the more visual aspects of their artistry and paints all of their album art, says that things she watches or reads also inspire her. In general, they appreciate artists whose authenticity shines through in their music, and they try to do the same. Esme Emerson feels the best about their music when they channel their sincerity into their music. Esme says that when she looks back at their music she wants to: “see something really honest of what I was at the time… I don’t want to see something that, like, I made to impress people … I want to see this, like, real art.” And while she derives much of her inspiration from her own life, the duo are able to express their authenticity together because of the joint experiences from their shared childhood. The siblings’ ability to relate to each other’s life experiences plays a large role in the larger motifs of belonging and nostalgia in their music. Adjacent to sincerity, Emerson reveals that “nostalgia is really important, and I think it comes from being siblings, you know, like looking back on our lives together.” Being a diaspora Chinese person myself, I really admire Esme Emerson’s integration of Chinese aesthetics into their artistry. As seen in the photocards they pass out at shows and across their Spotify page, the siblings are photographed standing in their aunt’s house with floral patterned wallpaper and traditional Chinese decor hanging from the walls, evoking retro Chinese aesthetics. Tying back into the theme of sincerity and nostalgia, they felt that their Asian heritage is essential in understanding them as people and artists. As Emerson puts it: “cultural and biracial identity is so core to who we are and our experiences that it wasn’t even really, like, a considered thing like ‘oh, we have to market ourselves like this’… it just was like ‘this makes the most sense for us.’” Overall, their relationship with their cultural identity is complex. Esme shares that while growing up in the very white Suffolk, school “was not a fun time.” This particularly feeds into why it feels “pretty badass to really own it visually and, like, push it to the forefront… it feels good, just like satisfying,
Gig Review: Jaz Beeson and Cora Rebel @ Servant Jazz Quarters (18/07/24)
Gig Review: Jaz Beeson and Cora Rebel @ Servant Jazz Quarters (18/07/24) 06.08.24 Words by Charles Buttle Nestled in the heart of North London is the Servant Jazz Quarters, an intimate and welcoming events venue that has hosted many talented musicians throughout its history. On Thursday, July 18th, it was the setting to an unforgettable spectacle as Jaz Beeson, 24, took to the stage to deliver her captivating headline performance, ‘The Petrol Receipts Show’, complemented by special guest Cora Rebel, 26. As the audience eagerly awaited the evening’s performance, Cora kicked things off with an enchanting opening act. She took the audience on a rollercoaster of emotions through her original music, including ‘Room For Wonder,’ ‘Break Of Dawn,’ and her latest single, ‘20 Forever’. However, her debut performance of her original song ‘Again’ was a standout. Cora held complete control of the room as the audience hung on her every word during the powerful and emotive track. The further she sang, the louder the roars of applause got, setting the bar incredibly high for Jaz’s upcoming performance. Throughout the interval, audience members spoke incredibly highly of Cora’s opening act. One guest, Andy Gardener, commented: “Cora has come incredibly far throughout her career, and this performance marks a new era for her as a musician.” Another, Benedict Williams, added: “Cora being invited as the special guest was an outstanding choice; while she and Jaz take different approaches towards their sound, combined, they’re a force to be reckoned with.” As more people streamed into the venue, anticipation for Jaz’s entrance grew amongst the audience as the band took their place. The lights dimmed, and a static transmission filled the air, introducing the premise of the show while teasing several hit songs yet to come. Then, as the band began the introduction to ‘Peugeot 205’, Jaz surprised the audience with her sudden appearance from the wings, ready to deliver a captivating performance. Throughout the show, Jaz delighted the audience with her latest hits, including ‘False Ceiling’, ‘People Pleaser’, and ‘Villain’, eliciting adoring cheers and applause. But, while each of her original songs was a crowd-pleaser, her rendition of Fountains of Wayne’s ‘Stacy’s Mom’ electrified the audience, establishing itself as a memorable highlight of the show. As Jaz wrapped up her final song, the crowd pleaded for just “one more song”, and with the resourcefulness of her trusted band, she pleased the audience with a thrilling rendition of One Direction’s ‘What Makes You Beautiful’ to conclude the evening. Towards the end of the show, John Harris commented: “Jaz is unlike any performer I’ve ever seen; even though her talents as a singer and songwriter can’t be understated, her ability to connect with the audience is what makes her a highly respected figure in London’s music scene.” Furthermore, Matt Gray commented: “We travelled all the way from Grimsby to watch Jaz perform because that’s truly how much we believe in her; every time she’s on stage, it’s magic.” Taking a “personal touch” towards the performance, ‘The Petrol Receipts Show’ was filled with small yet powerful elements that made the evening unforgettable. From handcrafted merchandise to the decorated stage, no detail was left untouched by both Jaz and her team. However, a standout element of the show was the prevailing sense of love and community throughout the venue, connecting guests and performers alike. During both Cora’s and Jaz’s performances, each artist openly expressed their heartfelt appreciation for the incredible turnout while also praising one another’s acts. It was evident that both artists understood the significance of being part of a greater whole, as at every opportunity, they showered their team, band members, and the audience with nothing but glowing praise. Jaz said: “I couldn’t be happier with how the evening went. From the love and support of the audience to the hard work and dedication of my team, it was truly an evening to remember.” Cora added: “I’ve loved being a part of the show as Jaz is an incredible artist and a joy to work alongside. It was interesting to see our audiences overlap for the evening and watch everyone have an amazing time.” “I’m just thrilled to be back doing what I love,” Jaz will perform at ‘Humber Street Sesh’, Hull, on Saturday, August 3rd. Furthermore, Cora plans to record her entire set from ‘The Petrol Receipts Show’ and make it available on her YouTube channel in the coming months. Cora will also perform at The Hope and Anchor, Islington, on Wednesday, August 21st. What do you think?
˚⟡˖ New Track ࣪⋆⭒ Dirt Flirt – ‘Like Madonna’
˚⟡˖ New Track ࣪⋆⭒ Dirt Flirt – ‘Like Madonna’ Dirt Flirt is Back: This Time ‘Like Madonna’ Words by Olivia Bloore 16 July 2024 https://www.youtube.com/watch?v=RanWoxxGhYA Dirt Flirt is a fast rising queer pop icon, who has already supported the likes of MUNA, girli and and played alongside Bimini on their UK tour. Her latest single ‘Like Madonna’ is an angsty declaration of self confidence and empowerment, and solidifies Dirt Flirt’s signature alt pop punk style. In conversation with the singer-songwriter, Dirt Flirt discussed the making of and inspiration behind ‘Like Madonna’, and what this new era means for her music. Dirt Flirt released her debut single ‘Diesel Skirt’ in 2023, which established her unique genre- defining sound as angsty queer pop punk. If you have been lucky enough to see one of her shows, Dirt Flirt is an electrifying and charismatic live performer. She played lead guitar on tour with the phenomenal Bimini in 2022-2023; this exhilarating experience of playing festivals and huge venues meant that her sound as a solo artist was destined to have a live feel to it. Dirt Flirt recalled ‘when I got the job with Bimini that changed my life […] it opened me up to this world and made it start to feel like it was actually a possibility.’ I asked if live performance was key to her writing process, to which she replied ‘I feel like when I am writing I am always picturing how I would perform this’. ‘Like Madonna’ certainly has the energy and drive of a club anthem; it was performed at Dirt Flirt’s recent show at Heaven supporting girli. Dirt Flirt’s musical influences include MUNA, Troye Sivan and My Chemical Romance – she has taken inspiration from Gerard Way for her live shows, particularly ‘the way he’d run around with the mic, it just seemed like some kind of freedom’. When performing live, she also often chooses to take centre stage without a guitar; this was ‘a very conscious decision […] when I write I don’t often write with a guitar’. In this instance the upbeat electronic instrumental was the springboard for the creation of ‘Like Madonna’. The track was written in collaboration with producers Song Higginson and Matt Thorne, who presented Dirt Flirt with a percussive instrumental that fit the chorus lyrics she had written that morning. The track opens with a spacey distorted sweep of guitar notes, before launching in with a complex drum beat and Dirt Flirt’s vocals at the forefront of the texture, singing the confrontational phrase ‘you’re not around when I need you’. The production of the track ebbs and flows, but keeps the high energy, angsty pace throughout. The pre-chorus leaves space, again using guitar textures, to forefront the vulnerable lyrics ‘I know that I let you down’ before a drum riff catapults us into the headbanging chorus, punctuated by ‘oh oh oh’ in the backing harmonie and powered by an excitable bass line. The lyrics of ‘Like Madonna’ are direct, questioning and express feelings of conflict when distancing yourself from a toxic person. Dirt Flirt told me that the lyrics grew from the ‘Hung Up’ reference in the chorus, but add a certain level of vulnerability. She sings ‘you’re making me cry / you’re making me make mistakes’, which over the percussive punk track adds an edge of emotion that shines through the slightly distorted vocals. There is a softness to the lyrical meaning of the track that effectively contrasts with the fast tempo instrumental. The song takes a genre bending take on Madonna, embedding the playfulness of ‘Hung Up’ into the track but transforming it from camp pop to angsty punk. In terms of future music from Dirt Flirt, she revealed that ‘I’m going to release a lot more music this year […] ‘I have so much music that I’m sitting on’. We look forward to the ever evolving artistry of Dirt Flirt, and for now look forward to screaming ‘I don’t want the drama’ in the most dramatic way possible. View this post on Instagram A post shared by Dirt Flirt (@dirt__flirt) You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
˚⟡˖ New Track ࣪⋆⭒ Beth McCarthy – ‘Good Bi’
˚⟡˖ New Track ࣪⋆⭒ Beth McCarthy – ‘Good Bi’ Can you think of a better way of celebrating pride month than screaming along to a new bi anthem? If not, Beth McCarthy has got you covered. Words by Jamie Shovelin 4 July 2024 https://www.youtube.com/watch?v=Twm54ZCdPhE ‘Good Bi’ is the latest single from McCarthy and following the success of her previous single ‘IDK How to Talk to Girls,’ it’s no wonder this one is just as much of a hit. This latest single talks about the challenges bisexual women face and that feeling of accepting who you are despite it all. The song starts off slow and with soft vocals accompanied by a sweet piano melody. The lyrics refer to common insults thrown towards bisexuals, with lines like “I’m greedy, a little too needy.” But directly after this soft and calming start to the song the bridge kicks in. The bridge throughout it has this slight build up of guitar in the background preparing you for whats to come. The bridge explains the experience of sexuality perfectly with references to the different type of people you can fall for and the negatives that come. Then you are hit into this upbeat, fun chorus that really makes this song feel like a pop classics, with that same feeling you could get from listening to songs like ‘girls just want to have fun’ by Cyndi Lauper. The chorus is essentially a big, I don’t care, to the stereotypes and comments aimed at her and her sexuality. McCarthy is basically saying, so what? I will keep dating who I want because I can. And that is a beautiful message for this pride month, and it certainly helps that it’s paired with the feel-good music behind it. Every chorus and the songs end with the repeated lyric “how could anybody hate a good bi?”, which is not only a great play on words but sums up the message of the song in one line, she’s unapologetically herself and sees this as a win for everyone else, because how could you hate a good bi? View this post on Instagram A post shared by Beth McCarthy (@bethmaymccarthy) You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
⋆⭒ New Track ˚.⋆ Hope Tala ‘Bad Love God’
⋆⭒ New Track ˚.⋆ Hope Tala ‘Bad Love God’ Hope Tala releases ‘Bad Love God’, one day before supporting SZA at BST Hyde Park alongside Sampha and Snoh Alegra. Words by Teguan Harris 4 July 2024 https://www.youtube.com/watch?v=NmHQ5wo9zYM West Londoner Hope Tala is back to bless the ears of music fans with her brand new single ‘Bad Love God’. This is her second single of the year, following ‘I Can’t Even Cry’, which was released back in April. ‘Bad Love God’ marks her return to the music scene after her writing period in Los Angeles, and is available to stream via PMR Records. ‘Bad Love God’ is inspired by the grip of “having a new romantic obsession”. Speaking on the new single, Hope says, “Sometimes when writing a song I’m attempting to convey a personal experience in an authentic, sometimes brutal way that attempts to get as close to the bone of truth as possible. On other occasions, something I feel becomes the inspiration for a story that then takes on its own life.” ‘Bad Love God’ fuses neo-soul with R&B sounds and upbeat arrangements, with her angelic and soft vocals interweaving within the track alongside her spoken word. This effortlessly encapsulates her versatility and innovation. ‘Bad Love God’ shows that she has effectively studied her influences, as the sounds and inspirations from the likes of Lauryn Hill, Erykah Badu, and Joni Mitchell can be heard in the track. Her literary background also displays her innovative lyricism and her natural flair for storytelling. Hope is a rising sound in the industry, as critics such as Clash, BRICKS and Wonderland consider her to be a force to be reckoned with. Tala is known for blending neo-soul with R&B, creating innovative sounds with the support of her poetic storytelling and her celestial vocals, supported by guitar arrangements. Her previous work, notably her EPs ‘Girl Eats Sun’ and ‘Sensitive Soul’ earned her the reputation of a poetic lyricist with delicate vocal arrangements that is hard to replicate. Hope Tala is in her own distinct world, who’s creativity is a blessing to the music industry. ‘Bad Love God’ shows that she has effectively studied her influences, as the sounds and inspirations from the likes of Lauryn Hill, Erykah Badu, and Joni Mitchell can be heard in the track. Her literary background also displays her innovative lyricism and her natural flair for storytelling. Hope is a rising sound in the industry, as critics such as Clash, BRICKS and Wonderland consider her to be a force to be reckoned with. Tala is known for blending neo-soul with R&B, creating innovative sounds with the support of her poetic storytelling and her celestial vocals, supported by guitar arrangements. Her previous work, notably her EPs ‘Girl Eats Sun’ and ‘Sensitive Soul’ earned her the reputation of a poetic lyricist with delicate vocal arrangements that is hard to replicate. Hope Tala is in her own distinct world, who’s creativity is a blessing to the music industry. View this post on Instagram A post shared by Hope 🌠 (@hopetala) You Might Also Like