Genre (Copy): R&B and Soul

      New EP: Nikhita “Solace”

      New EP: Nikhita “Solace” Hailing from Scotland and based in Edinburgh, RnB artist Nikhita stuns with the release of her debut EP, Solace. By Sankavi Naresh Currently Listening to: This five track collection is a deeply introspective exploration of self worth, identity, troubled relationships and familial struggles-woven together with Nikhita’s entrancing vocals, live instrumentation and the soothing frequencies of Himalayan singing bowls. At the heart of Solace is Nikhita’s ethereal vocals, soaring effortlessly over a delicate neo soul and RnB soundscape, reminiscent of Cleo Sol and Raveena. Languid rhythms and radiant sonic textures blend seamlessly, inviting listeners to lose themselves in a space that is both reflective and healing. Solace is mesmerising from start to finish, but these three tracks are my personal standouts. “Lake Karachay” serves as a heartfelt introduction, the title being a nod to a Russian lake, once used by the Soviet Union to dump radioactive waste in. It’s aptly melancholic and hurt in its tone. Whilst “Insurance” eases you in from the beginning, maintaining an assertive presence without being brash or forceful. “Golden Child” is quietly empowering, its soulful melody tugging at the heartstrings. With imagery of “bangles stacked in gold” and “turmeric on her toes” and lines such as “you can come to me for anything”, there’s an allusion to finally reaching self-acceptance and self-love. The lyrics seem to reflect on a past self, in need of the love and compassion she delivers in this beautifully woven track. “Golden Child” is certainly a testament to Nikhita’s artistry and emotional depth. In her own words, Nikhita says “writing these songs was a place of solace for me, helping me navigate some challenging situations – and solace is what I hope others will find upon listening. I have always thought of music as an avenue for healing, and recently I’ve been learning more about how to intensify that effect sonically, in traditional ways, linked to my heritage. I play singing bowls on a few tracks – these instruments originate from the Himalayas and produce a set of overtones, creating vibrations which can aid in our meditative process and regulation of the nervous system. I am only just beginning my sound healing journey, and there is so much more I am eager to learn about using frequencies for healing.” Nikhita’s intention to utilise her music for healing is evident throughout Solace, which feels both rejuvenating and restorative. The EP acts as a cathartic release for Nikhita and her listeners; there’s something metaphysical and uplifting about it, transporting you to a safe, dreamlike space where worries are eased. Both her music and her lyrics pay homage to her heritage, intertwining personal narrative with cultural pride. Beyond the studio, Nikhita is no stranger to a live performance. She has graced stages at PITCH Scotland, Solas Festival, Kelburn Garden Party, and more. Nikhita’s growing reputation has been further cemented by praise from The Scotsman, Tenement TV, and multiple appearances on BBC platforms, including a notable live radio performance at Maida Vale Studios for International Women’s Day. Solace is more than just an EP. It’s an invitation into a healing space, where personal catharsis is married with innovative musical expression. Nikhita has firmly established herself as a rising RnB artist, ready to captivate audiences both on record and on stage. Catch Nikhita live on the following dates: 10th April 2025 – Solace EP Launch (Headline Show) – Whitespace Gallery, Edinburgh 26th April 2025 – Poetry and live music night at Gallery Natami – Edinburgh You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆

      New Single: Demae “Ain’t Easy”

      Born and bred North Londoner Demae is back with another tasteful track titled Ain’t Easy, released on the 24th of January this year.

      With a soulful sound and clear R&B and Hip-Hop influences, Ain’t Easy is a light and dreamy soundscape where Demae is free to offload with introspective lyrics. The song has a strong backbeat and bass groove which you can’t help but jam to, but the smooth and silky vocals keep the mood chilled and relaxing. An effortless delivery and an easy listen.

      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.

      Girlhood – ‘Kissing You’

      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. Girlhood – ‘Kissing You’ Release Date: Release Type: Exposure: Genre: Location(s): Signed?: Current Venue Capacity : Streaming /Socials What do you think? You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆

      ✧⋄⋆ Interview ⋆⋄✧ Raelle

      ✧⋄⋆ Interview ⋆⋄✧ Raelle Over the last 3 years, orchestral soul artist Raelle has been developing her beautifully warm and intimate live shows. Words by Callum Lidington https://www.youtube.com/watch?v=AcwbDKc8HS4 In that time, she has performed at a host of notable venues, including the Jazz Cafe, Village Underground, and now, for a second time, The Elgar Room at The Royal Albert Hall for her first sellout performance. The New Age Magazine caught up with Raelle after her show for a Fantasy Festival Q and A. She takes us from Norwich, to London, to France and even to Latin America, as she talks us through her journey so far, as well as her hopes, dreams and ultimate music festival fantasies. Raelle today you will be headlining your own fantasy festival, we’ll be discussing your dream venue, food, drink, and guest artists as well as your songwriting philosophy and your journey so far – Shall we take it back to the start – St Laurence Church in Norwich for Wild Paths Festival 2021, your first festival performance and I was blessed to catch it… What do you remember about that day?   Yeah, it was very surreal for me, I could barely even digest the fact I was performing at a festival. It was very soon after I had started releasing music, so it was pretty like ‘whoa, this is a big thing for me’. It was a great day though, and it’s a beautiful venue. How have things changed in the 3 years or so between that performance at Wild Paths and yesterday’s performance at The Elgar Room? What hasn’t changed? Everything’s changed I think. Before I was very much still finding my voice, my feet, what I wanted to stand for, and what I wanted to sound like. I think I’ve grown within those three years, the way I look at music is super different and how I make music is really different. I really want my shows to be an immersive experience. I want to bring the audience into my world, and inside the songs with me. I think doing this is one of the biggest changes to how I perform. They are both stunning locations, and you’ve played at plenty of others in between, what’s been your favourite venue to play? Oh my God. My favorite? I really liked Village Underground supporting Marie Dhalstrom, that was sick, a really beautiful venue. I’ve seen so many acts there and then I was on the stage, I was like ohh OK, this is different now, that one felt like a really big deal for me. View this post on Instagram A post shared by RAELLE 🌻 (@_raelleeee) But this is your Fantasy Festival – What would be your dream venue or destination? It has to be somewhere hot by the sea. It would be a mix of party and chill. Holistic, but also carnival style partying! There would definitely be an eclectic bunch of people in the crowd, and on stage, and I’d be there moshing in the middle! The day would end with us all chilling at the beach. The first people are arriving at your festival! They’re super excited for the day ahead but they are going to need some sustenance. At your Fantasy Festival what food and drink is everyone having?  I really enjoy Latin American food and culture, so I’d probably have Colombian or Mexican food! I’ll go for crispy prawn tacos with guac, rice, beans and cheese. And to drink spicy margaritas with a chilli rim! Now whilst you prepare for your fantasy festival headline performance tonight, we have some of your recent collaborators keeping the crowd entertained – you worked with S.Fidelity, Collard and Gabiga on the single ‘Stolen’ released in November last year…What was it like working with all of them?  They are my brothers for real! I love them all. It was such a beautiful experience as well the way that song came together, it was at this writing camp in France. S. fidelity, and I had been working together throughout the week, and it had come to the last day of the camp. We were sitting in this beautiful studio in the South of France and I just started playing this bass line, and then Gabiga got on the drums and started playing, then Collard started singing his verse. It all happened so organically. I think that’s how a lot of my new stuff is in the way that it’s happening. There’s a really organic process in the way it’s being made, and sounds, even the choice of words I’m using as well. I’m seeing S.Fidelity in Berlin soon to work on a new project! The time has come for you to take the stage. The crowd has been waiting for this moment. One of the reasons people are so excited to see you perform is for your lyricism. You’ve said in previous interviews music isn’t just about what sounds good, it’s about communication – your newest EP Bloodlines is a homage to the Windrush Generation and it’s crafted around a really beautiful and thought-provoking spoken word interlude… How important is it still to write music that brings attention and gives voices to people and events from history and the modern day? I try to have a message or story at the core of my songs, that way it lasts because it has that resonance. I don’t think that the human experience is something that is particularly changeable. I feel like people have experienced the same kind of range of emotions throughout history, but they just look different throughout different time periods through different lenses, but the feeling is always the same. If you’re able to capture that feeling in words, and then bring it out even more with the music, then I think you create a timeless piece. Who or what influenced your songwriting philosophy and attitude? I really like people who are just honest. You can feel it through the

      °✩ Gig Review ⋆｡ Raelle at The Royal Albert Hall

      °✩ Gig Review ⋆｡ Raelle at The Royal Albert Hall ‘It feels like the end of a chapter, a new beginning, I’ve gone full circle’, Raelle tells the audience. Words by Callum Lidington https://youtu.be/k3uz_KBkAE4 She gives snippets of the thoughts and feelings behind each song as she performs, with each bit of poignant dialogue bookended by the soulful vocals and free flowing compositions of her back catalogue. The chapter she is referring to being the first in her story – 3 years since she started putting  music out in the London scene. As a writer it’s a journey I have seen at its start, and at its end, from her first festival performance at St Laurence’s church in Norwich for Wild Paths Festival 2021, to her first sold out show at The Elgar Room at The Royal Albert Hall in 2024. The Elgar Room has a natural warmth and intimacy, like that of an art-deco cinema with its grand nature and warm-dim lighting. Tonight’s show, she explains, is a display of ‘Raelle then, now and what she’ll become’, adding this could be the final outings for some of her earliest tracks, to well and truly move into a new chapter in her artistry. She opened with a cover of SWV’s ‘Rain’ before venturing into one of her earliest singles, the 2021 release ‘Purple Skies’, a track that, in its stripped back design, beautifully highlights Raelle’s vocal abilities, closing with some angelic harmonies. She continued to move effortlessly through her entire artistic evolution, ticking off the 2022 single ‘Grace’ which is a personal favourite with swooning strings and Raelle’s mesmerizing vocal control gripping attention from the candlelit circular tables and the rows of us standing to the back with our heads swaying. Raelle and her band oozed a laid-back confidence and chemistry, which was clear to see and hear. Together they were a 10-piece band but Raelle said they felt more like a family. With so many musicians on stage at the same time, the set had a real free-flowing, jam-style feel, bouncing between slick solos on their respective instruments to punctuate Raelle’s soulful orchestral singles. She continued through to her latest single ‘Stolen’ featuring S.fidelity, Collard and Gabiga, a slick and soulful tune birthed from a group improv session in France. It’s a track that has had an overwhelmingly positive reception, racking up over 300,000 Spotify streams and becoming Raelle’s most popular song. It will likely be the first of a few collaborations we will be seeing from her over the coming months! In an interview after the show Raelle said that one of her biggest developments as a live performer was her desire to pull the listener into the song; to understand the intentions and messages in the lyrics and the headspace from which is written. This was definitely evident on this occasion, as she would give snippets about the next track’s inception after the close of the previous one. The level of intimacy and honesty to her interactions, in a venue that was already so warm felt like being reunited with an old friend, discussing the ‘remember when’s’ and ‘I can’ wait to’s…’ of life. The set closed with Raelle’s personal favourite song ‘Round Round’ which signified the end of her first musical chapter, with her second waiting eagerly to begin. She is working on some new singles with some exciting collaborators, and hopes to release a new project next year.

      ₊ ⊹ Interview ⊹ ₊ Faye Meana at Cross the Tracks

      ₊ ⊹ Interview ⊹ ₊ Faye Meana at Cross the Tracks We spoke to soulful singer-songwriter and producer Faye Meana at Cross the Tracks ahead of her upcoming EP and brand new single ‘No Hay Que Llorar’. Words by Amalia Castle https://www.youtube.com/watch?v=0f0bdk4K_ss Having grown up on the outskirts of London, singer song-writer and producer, Faye Meana seemed to have escaped the frenzied capital which lay just a short car ride away from her growing up. With her childhood spent outdoors or keenly listening to her parents eclectic music collections – a concoction of indie, rock and roll, Motown, disco and 80s hits – Faye’s journey into loving, and ultimately making music, was natural and inquisitive. This marriage of her multifarious music taste and the slower pace of life outside the city, seems to have forged her ever-evolving and tender catalouge today.  Faye’s discography is rooted in her passion for production and instrumentation, which emerged from a young age. “I started playing piano when I was five, and was classically trained. I was playing religiously. Piano was my life.” She had always enjoyed writing small pieces and stories, so taking the natural course of any devout musician, she began creating her own melodies. Locked into the software on her Macbook and creating her own sounds, she had finally materialised a unique canvas for her songwriting. Initially appearing on the scene with a balmy and rich neo-soul sound reminiscent of the legendary Erykah Badu and D’Angelo, Faye was also deeply influenced by the soulful and vocally excellent Motown records she grew up with. Her early releases like ‘4AM’ and ‘Patience’ were teeming with a pervasive warmth and it’s here she began revealing a delicate, yet emotional vulnerability in her songwriting. Now, we see Faye breaking down the walls between the genres that raised her. With those same balmy tones, the singer-songwriter and producer is experimenting with 80s electronica, indie pop and disco; emulating these retro sonics with startling authenticity.  I was set to meet Faye an hour or so before her set, making it the first thing I did as I stepped through the gates of Cross the Tracks. The forecast had promised rain but it seemed the day had other plans for us, as I was welcomed into Brockwell Park with a warm breeze and a beating sun that appears in two minds at this time of year. Spirits were high, and were lifted even higher, as I was welcomed by Faye with a warm hug and her magnetising smile. We stood for a while catching up, watching her drummer play on the Caboose stage. We would later see Faye execute a confident and energising set of her classics, upcoming release and even an MJ cover on this very stage. Faye’s band is important to her, and a vital part of her passion for performance. “I love bouncing off of other people. Especially people that you get on with so well. It’s almost a comfort blanket in a way, playing with people that have your back and your best interests at heart” she tells me. So how are you feeling about playing at Cross the Tracks! This is actually my first festival so, I’m so fucking excited! Just to play a festival in the first place, but also for Cross the Tracks to be my first one, it’s just perfect. This has always been one of my favourite festivals to come to. I’m also playing with a new band this year (apart from my bassist who I’ve been playing with for seven years), it’s just come together perfectly and I’m so excited to play with them! You recently released ‘On & On’ which is a super funky track sporting a retro, electronic feel. What’s the story behind the track and your inspirations for this sound?  I think like a lot of people know me for that neo soul sound, so to come up with something that’s more electronic and a little bit faster and more of a vibe, I definitely felt a little apprehensive but it’s been received really well. I’m always gonna have my stamp on a song, but I definitely think this sound that I’m evolving into is the true me and the sound I feel like most comfortable with. It’s also inspired by stuff that I’ve been listening to for years. Little Dragon was a huge inspiration for me in terms of production, so yeah I think that’s been on my mind a lot when I’ve been making this new electronic sound. You followed on from this release with your latest single ‘No Hay Que Llorar’. Tell us a bit about this new release. I wrote No Hay Que Llorar as a reflection on not just my own experiences but also based on those around me, this is often the case in my writing. The whole preface of the song is kind of realising your self worth and inflicting change. ‘No Hay Que Llorar’ blends Spanish and English vocals to reflect a relationship in turmoil and all over a punchy, reggaeton inspired beat. How has the process been writing in another language? So I knew Spanish to a good level a couple years ago, but writing and being able to rhyme in other languages is a whole different ball game. The first song that I wrote, that was a fusion of Spanish and English, was hard for me to rhyme and then to make sense. But the first one gave me a push to be like ‘okay! I can do it!’. I’ve got two songs off the EP that have bits of Spanish in them and it feels nice, because though I’m not Spanish and or from a Spanish speaking country, I absolutely love the culture and sounds. You’ve got a new EP in sight, what can you tell us about this upcoming project? So I think ‘On and On’ is a good introduction to what the rest of the EP holds. There’s a couple tracks that

      ⊹ ₊ New Track ₊ ⊹: Ngaio – ‘Four Quarters’

      ⊹ ₊ New Track ₊ ⊹: Ngaio – ‘Four Quarters’ Goddess, the captivating new single by renowned singer, DJ, and activist NGAIO, is set to be released on June 6, 2024. On the same day, her highly-anticipated self-produced debut EP Four Quarters will be released and this track will serve as its final instalment. 06.06.24 Words by Isaac Phelan https://www.youtube.com/watch?v=S8iP_itjFHU The latest chapter in her story: the piano-led ballad “Goddess” is an uplifting meditation on the significance of maintaining spiritual ties while carving out time to honour our ancestors. Goddess, according to NGAIO, is about “understanding that we are connected to more than the physical space of here and now – It’s about knowing that we can find that connection in nature and ourselves”. Through the lens of connection, “Goddess” also encourages listeners to celebrate women. “Society is always trying to censor us as women and control a narrative around our bodies. How we look, what rights we have, who we should be”, NGAIO continues, “Goddess is about saying we’re all Goddesses – no matter what anybody tells us. We don’t need to starve ourselves. We don’t need to have the same face and body. We don’t need to be ashamed of our uniqueness – it’s what makes us individuals. And if you ever forget that, it’s important to go to the places that will help you remember – which is what the song is for”. A truly unique sound is created by NGAIO throughout the EP through the combination of West African percussion, trip-hop influences from Bristol, jazz, dub, and soulful lyrics. It is a reflective and introspective voyage that reflects NGAIO’s investigation of cultural heritage, self-expression, and the difficulties of expressing one’s true self in a society that is frequently unreceptive to different points of view. Alongside her impressive library of music, NGAIO continues to contribute to supporting gender-fluidity in modern music. NGAIO founded Booty Bass as a space for women and non-binary folk to come together and play big, bad, unapologetic bangers. Since its conception in 2018, it’s become a space that promotes an appreciation of different cultures and sounds worldwide where dancing and laughing is key. In 2022, NGAIO launched Obsidian in collaboration with Shade Cartel – a micro venue that launched at Boomtown and took over Glastonbury and We Out Here festival in 2023. As a curator, she also produced a Booty Bass Takeover at St Paul’s Carnival with the first female/non-binary run Soundsystem and takeovers at Shambala festival. She also produces and hosts her monthly radio show on Soho Radio broadcast in London and New York. NGAIO was also recently a part of the Censored campaign highlighting female nipples being sexualised which was part of a city-wide exhibition addressing the hypocrisy of it and the consistent policing of women’s bodies. 2023 also saw NGAIO quickly rise to become a highly successful and sought after musical talent. NGAIO hosted her first Boiler Room in Bristol, Keep Hush as part of the Booty Bass Takeover and supported D Double E, Lowkey, and Bugzy Malone at the WikiLeaks event organised by Shangri-La. At last year’s Glastonbury festival, she performed tracks from her new EP on the Greenpeace stage. By shattering preconceptions of what identity can be, NGAIO’s sound will continue to resonate with audiences for many years to come. You Might Also Like

      Cross The Tracks Festival 2024

      ⋆⭒ Review ˚｡ Cross The Tracks Festival 2024 The fifth edition of Cross The Tracks touched down at Brockwell Park just over a week ago, the south-London festival celebrated another glorious (albeit rainy) day of jazz, funk and soul. 05.06.24 Words by Gabi Machen For many, it’s the annual signifier that summer is almost here and a sun-soaked season filled with live music is just around the corner. The festival featured a varied line-up spanning decades, showcasing an eclectic mix of up-and-coming UK artists, heritage names and global icons to draw a devoted crowd of music lovers. That familiar buzz of excitement felt like an old friend as festival-goers gathered at the Brixton site in anticipation. Shortly after the gates opened, an announcement rippled through the crowd: the beloved queen of neo-soul herself, Erykah Badu, would not be appearing. Despite the setback, Cross The Tracks emphasised that the festival ‘isn’t just about one act, it’s about 70 incredible acts, shaping and defining the genres we love globally’. While disappointment was felt among fans, the overwhelming spirit of community prevailed. Before long, attendees were navigating between stages, ready to sample everything the festival had to offer. A last-minute adjustment to the set times brought hip-hop legend Freddie Gibbs alongside Madlib for a spontaneous mainstage performance, while US girl group En Vogue rose to headliner status with an electrifying medley of their greatest hits. Amongst the 70+ acts were some fantastic emerging female artists. Arriving early for these slots is always worthwhile, offering a valuable chance to discover new music and explore the stages up close. Ella More opened the Caboose with a powerhouse performance. As the audience steadily trickled in, the singer-songwriter commanded the stage with stunning vocals and a natural confidence. Joined by her band, she treated the crowd to a live set of R&B-tinged alternative love songs, including the stand-out ‘You Know’, before wrapping up with her latest single ‘Balance’, a track that demonstrates her newly refined sound and ample potential. If you’re eager to support an artist at the beginning of their career and witness their growth, Ella More is one to watch. Meanwhile, at the D-Railed stage, The Blues Project curated a sensational line-up of artists, each bringing their unique flavour of R&B. Highlights included performances by London-based Natanya and Jamilah Barry. With a minimal setup and stripped-back arrangement, all attention was on Jamilah’s dazzling voice, accompanied only by a guitarist. She delivered a heartfelt dedication to those ‘facing unspeakable, unimaginable atrocities’, captivating the audience completely. During the rest of the set, fans grooved along to notable tracks like ‘Merlot’, ‘Uber Ride’ and ‘Woman’s Touch’, a song she collaborated on with Cross The Tracks alumnus Yussef Dayes. At one point, the crowd sang in unison under Jamilah’s direction, creating a magical moment within a wonderfully vulnerable performance. For a fix of jazz music, oreglo’s high-energy set had the crowd jumping, while Ife Ogunjobi gave a truly special performance. The trumpeter and composer, who previously played Cross The Tracks as a member of Ezra Collective, effortlessly took to the spotlight to showcase his exceptional musicianship following the release of his first solo EP last year. The atmosphere inside the tent was palpable from the start, it was evident everyone sensed they were watching something remarkable. Finally, Girls Love Soul expertly took over the booth, supplying a soulful soundtrack to the day and championing a selection of talented female and non-binary DJs. Overall, this year felt like a triumph for the underdogs, as the smaller stages shone through and delivered. With the departure of Erykah Badu and a lack of sound at the two larger stages, festival-goers were particularly inclined to embrace emerging artists. One of the great strengths of Cross The Tracks is the diversity embedded within its lineup. This day festival presents a fantastic opportunity to witness rare performances and serves as a springboard for discovering contemporary artists on the rise. Click here to get email updates for 2025 Tickets!   You Might Also Like