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As the trends in music evolve, as does the definition of pop music. Pop started as an abbreviation for popular; since the mid-20th-century, it has become the go-to term to define the music currently holding the most favour with the public. The evolving nature of pop makes it hard to pinpoint the pioneers; some say it all started when performers needed a catchy and memorable song in the Victorian area, while others say that pop began with the original crooners in the 30s.

The introduction of the pop music charts in 1952 allowed a cultural shift to form around music. It was at this point in history that teenagers became a massive target for the media. Before this new social reconstruction, there had been no in-between for children and adults. Just as it is now in the TikTok age, where teenagers can make an unknown artist go viral in minutes, teenagers effectively ran the music industry in the 50s too!

After Elvis Presley reigned supreme in the late 50s and early 60s, the Beatles dominated the charts for eight years until they disbanded in 1970. Throughout the 80s, synthpop took the pop limelight until the Boy Band era was born in the 90s. The selling power of East 17, Take That, Backstreet Boys and ‘N Sync gave Bob and Chris Herbert the idea to manufacture the world’s ultimate girl group; with the Spice Girls, they discernibly succeeded. After the Spice Girls topped the charts, more manufactured pop acts, such as Britney and Mariah Carey, started to surface. Manufacturing is still a massive part of the pop industry, but more and more pop artists are becoming brave enough to break the mould (think Billie Eilish, St. Vincent and Lorde).

Even though the pop charts are more diverse than ever, with Ed Sheeran sitting next to the Weeknd and Dua Lipa next to Tom Grennan, there are still common factors in their pop tracks. Today, most songs that fall into the pop category follow the extensively tried and tested pop formula. Generally speaking, pop tracks are 3 – 5 minutes in duration, use just one key, contains melodically lyrical soundbites that include the title, have a repeating chorus and keep to 4/4 time signatures. Repetition is quite literally key.

Unless it is a ballad or a stripped back acoustic number, pop tracks usually unfold to danceable tempos and rhythms to complement the lyrical hooks. Elements from every genre can be pulled into pop, the main ones being rock, RnB, hip hop, country, Latin and dance. Indie pop was a force to be reckoned with at the start of the millennium, but two decades in, it has lost its foothold to hip hop and RnB, which have become pop genres in of themselves.

Airban Jee Soaked the Soul of Disco in Retro Pop Gold with ‘Are We Gonna’

https://music.youtube.com/watch?v=CXuEg-fVvUo&si=hVCae7KRJQXqhecp

Are We Gonna by the internationally notorious chart topper, Airban Jee licks retro pop with swathes of funk, giving the glow of a disco ball lighting above a gyrating dancefloor. The serotonin flows as easily as the Nile Rodgers-esque staccato guitar rhythms in the melodious rapture of the track that lifts as much as it hits the sweet spot tucked away in your soul. With a voice that reaches the pinnacle of euphony through infectious charisma, Are We Gonna is an earworm you’ll want to nurture forever.

Known for rewriting the rules of pop, urban, and R&B composition, Airban Jee’s discography is a testament to his endless creative evolution. From his early start at twelve with an electronic keyboard to multiple chart-topping singles and collaborations with heavyweight producers like Simon Cohen and Steve Peach, his career has been a masterclass in soulful, lyrical expression. With accolades including Songwriter of the Year awards, multiple #1s on the World Independent Music Charts, and extensive commercial radio airplay, he’s become a driving force on the global stage.

Following successes with tracks like Will Above My Wish and You On My Side, Are We Gonna continues the momentum, proving that when it comes to creating timeless anthems, Airban Jee knows exactly how to hit the visceral marks.

Are We Gonna is now available to stream on all major platforms, including YouTube.

Review by Amelia Vandergast

Careful, King redefined resilience with trap-pop reverie in ‘Don’t Test Me’

In his latest single, Don’t Test Me, Careful, King redefined resilience through the lens of vulnerable trap-pop introspection. While the title may prepare you for a fiery diatribe, there’s a tenderness to his sonic touch which speaks volumes of his ability to stand his ground while never relinquishing his aura of pure intent.

As emotive as Lil Yachty, but with authenticity coursing far deeper than any superficial resemblances, Careful, King delivered a melodically aching arrangement where every rhythm and every lyric feels earned. It’s not just his vocal flow that marks itself with distinction; the way he arranges his wavy trap-pop instrumentals into rhythms of pure candid catharsis is proof that even if you did a full lap of the contemporary trap scene, you’d never encounter an artist in the same vein as Careful, King.

By channelling the emotional weight of lifelong battles with self-perception, self-worth, and the desire to be authentically seen, Careful, King injects raw humanity into his scar-mapping aural canvas. His story of wrestling with the need for validation, finding solace in self-love, and creating purely from the drive within himself resonates through the track’s bruised yet hopeful core.

Through ‘Don’t Test Me’, Careful, King proves that life’s most powerful moments happen not under the spotlight, but in the quiet spaces where we choose to love ourselves enough to be whole.

‘Don’t Test Me’ is now available to stream on all major platforms, including Spotify and Apple Music. 

Review by Amelia Vandergast

Emilie Thorsby Poured Pop-Rock Fuel in the Fire of Empowerment with ‘Amazing as Hell’

For anyone familiar with the pressure of contorting into a distortion until all that remains visible is a hollow façade, only to find acceptance still painfully elusive, Emilie Thorsby’s single ‘Amazing as Hell’ is your alt-pop rebellion wrapped in compassion. The track delivers a powerful cascade of empathy, injecting fuel into weary hearts desperate for empowerment.

With theatrical flair, Thorsby effortlessly navigates a myriad of styles—synth-pop hooks dissolve fluidly into baroque pop motifs before surging into bold, Prince-esque rock riffs. Each stylistic shift visually manifests the many masks we don to gain approval from the shifting gaze of those around us. Yet at the centre remains Thorsby’s unapologetically striking vocals, soaring confidently over an infectious nostalgia-inducing production, reminiscent of pop’s golden decades, the 80s and 90s.

Drawing deeply from her personal narrative of resilience, Thorsby confronts past betrayals and abuses—relationships that diminished her worth, leaving emotional scars she transforms into powerful affirmations. Her anthem insists fiercely that inadequacy lies not within ourselves but in the eyes of those incapable of truly seeing us. ‘Amazing as Hell’ holds a mirror to our self-doubt, boldly declaring it baseless and invalid.

Thorsby’s single is a declaration of independence from societal expectations, confidently crafted and passionately performed.

‘Amazing as Hell’ is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Stephanie Braganza Sparked a Pop Rock Revolt Laced in Anthemic Catharsis with ‘Feel a Little Less’

Feel a Little Less by Stephanie Braganza is an electricity and self-empowerment-charged pop rock anthem which takes the anatomy of an earworm and injects it with steroids. As the guitar lines chug, amplifying the energy and anticipation for the drop of the chorus, Stephanie Braganza’s soaring vocal lines rise above the pop-punk-adjacent instrumentals while painting a vignette of what it means to reclaim your mind on your own terms.

For anyone who knows how hard it is to feel with intensity instead of psychologically scratching the surface of everything you emotionally touch, Feel a Little Less is an anthem that will console until you feel a little more whole and infinitely better about your tendency for your emotions to dive right off the deep end. This radio-ready anthem will undoubtedly take Stephanie Braganza to brand-new heights.

Nine years after her last release, the powerhouse vocalist makes her return with the fire of someone who has battled through the darkest chambers of the psyche and come back with the flame still in her hand. The track was first penned in 2015 while Braganza was clawing her way out of mental confinement. It has since evolved into a sonic exorcism, sculpted in the defiance of distorted riffs and cathartic vocal conviction.

With accolades including a Guinness World Record and recognition from CBC Music as one of the top South Asian Canadian artists to hear now, Stephanie Braganza’s comeback is set to make a tsunami of waves.

Feel a Little Less is now available to stream on all major platforms. For the full experience, watch the official music video. 

Review by Amelia Vandergast.

Riding the Whip of Want: Emdee Puts Lust on a Leash in ‘Tame’

With a teasing prelude that feels more like foreplay than an intro, Tame defies its title as Emdee fuses fetish with soul, sonic seduction with salaciously sharp aphrodisiacal elements. With pop and contemporary RnB serving as his playroom, Emdee is in his element in Tame, which utilises playful teasing staccato rhythms until the momentum of the single starts to flow around guitar lines amplified to leave the listener hot under the collar.

With his mix of light and dark, it’s clear that Emdee knows how to bring the rough with the smooth while never being vanilla; his butter wouldn’t melt vocal lines and the tension built in the guitars is enough to leave the airwaves on its knees in submission.

After carving out his name in rap and drill, the Birmingham-born, Coventry-based artist strips it all back to lean fully into melody and desire. There’s nothing tentative about this transition—it’s a controlled burn into sultry new territory, driven by his taste for the provocative and his instinct for sonic balance. Influenced by the likes of The Weeknd and Ginuwine, he’s taken the slow jam blueprint and scratched his initials into it with slick rhythmic restraint and a vocal delivery steeped in self-possession.

Now or Never is set to push this evolution further, but Tame already signals the leash has snapped—and Emdee’s instincts are on full display.

Tame is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast.

Blue Violence. Became the Definitive Sad Boi of Synth Pop with ‘My Feet Are Sad on the Dancefloor’

Blue Violence. turned the emotional weight of disconnection into a dancefloor confession with ‘My Feet Are Sad on the Dancefloor’, the keystone single from his 3-track EP, ‘Ugh…’. With synths set to shimmer and sardonic melancholy laced through the beat, this melancholic indietronica lament spins the disco ball on its axis to reflect a darker spectrum of inner turmoil.

Through anthropomorphised sorrow, Daniel Fischetti—writing and producing as Blue Violence.—exposes the paradox of internal desolation amidst external euphoria. While glitter rains and basslines throb in euphoric unison, his feet remain heavy with the weight of unshakable emotional inertia. There’s funk in the Depeche Mode-esque rhythm and pain in the lyricism, stitched together with the same magnetic gloom found in the works of John Grant.

Hailing from Southern California, Fischetti started Blue Violence in 2019 during a collaboration with producer and engineer Chris Caccamise of CJE Productions. Their work on the debut album Modern Love cemented Blue Violence. as a name worth noting in the shadowy corners of synth pop. Since then, Fischetti has remained self-contained in his sonic pursuits, refining his signature style without sanding away the raw emotional contours.

‘My Feet Are Sad on the Dancefloor’ doesn’t fake the catharsis—it coils around it, examining every nuance of numbness through neon-soaked textures and darkly sweet tones. Blue Violence delivered the funked-up synth pop hit we never knew we needed. He’s the definitive sad boi of synth pop.

‘My Feet Are Sad on the Dancefloor’ is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Promise by ADZii BOii: A Hip-Hop Plea Forged in Fragility

ADZii BOii, the hip-hop titan who knows exactly how to bring the hammer down in every bar, delivered his most intimate blow with Promise. Blazing leagues away from his contemporaries, he brings a rare sense of vulnerability to the track, laying all of his insecurities and idiosyncrasies bare while tenderly requesting acceptance in the moments that are in the wake of perfection.

His Scottish vocals are a striking juxtaposition to the polyphonic, playfully retro Afrobeat instrumentals in the bitter-sweet hip-hop and pop hybrid. All of the experimentation and daring to stand alone as an innovator without falling in line with trends only amplifies the sentiment of the lyrical underpinnings by sonically asking for understanding, even when you need to discover new vestiges of what you thought you already knew.

There’s no bravado here—just raw prestige, candour, and the opportunity to strengthen your empathy for anyone who falls outside the mental health mould.

As an artist, ADZii BOii wears his temperamental streak and emotional depth like armour, and Promise proves nothing is off limits. With previous acclaim for ‘Let’s Go’ on Netflix’s Sprint, and ‘Colours’ airing during BBC Radio Scotland’s Mental Health Awareness Week, ADZii BOii’s bid to redefine Scottish rap isn’t wishful thinking—it’s already in motion.

Promise is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.

Jack Fargo Hits a Natural High with Alt-Pop Anthem ‘Drugs on the Weekend’

Jack Fargo

Jack Fargo’s latest release, Drugs on the Weekend, is less Class A and more A-List radio-ready material—delivered as a wavy lo-fi mash-up of RnB, Hip-Hop, and pop. The track is an exposition on how the oxytocin rush from someone who scintillates your soul as much as your skin surpasses every synthetic high imaginable.

With funk-infused grooves and a horn section lifting the vibe even higher, Fargo turns this bedroom-pop musing into an indie anthem choked with infectious appeal. Fargo’s zealously electrifying vocal lines prove he did more than perform when stepping up to the mic; his verses pour straight from a soul bright enough to illuminate any room or arena. The harmonies and rap-infused verses warm the dreamy, lush layers of saturation, making the track an effortlessly magnetic listen.

Fargo, born Jack Fargotstein, is a Memphis-raised musician who sharpened his artistry through hip-hop mixtapes as Bigmac Jack before earning acclaim in LA as half of The Motel Brothers. Post-duo, Fargo returned to his solo roots, pulling influences from Ed Sheeran’s pop-rock effervescence, Mac Miller’s legendary ease, and classic R&B richness, all vividly showcased in this latest sonic concoction.

Drugs on the Weekend perfectly captures Fargo’s lyrical exploration of authentic connections, resonating through melodies that mirror the intimate rush of genuine chemistry. Fargo isn’t chasing superficial buzzes here; he’s illustrating that the purest high flows naturally.

Drugs on the Weekend is now available to stream on all major platforms, including SoundCloud. 

Review by Amelia Vandergast

Latin Pop Luminary Diego Molina Defined Romantic Sincerity in ‘What’s That Light In Your Eyes’

Diego Molina

Diego Molina’s latest single, ‘What’s That Light in Your Eyes’, subversively opens with an intimate glimpse into relationship bliss, almost like overhearing a candid conversation through an accidental pocket dial, setting a refreshingly personal context for the heartfelt fervency of the Latin pop serenade that follows, gently redefining romantic sincerity beyond physical admiration.

Hailing from Nashville, Molina wrote, produced, and mixed the track himself, drawing charismatic sentimentality from early-2000s inspirations such as U2’s All That You Can’t Leave Behind and Enrique Iglesias’ Escape. His approach carries an individuality shaped by his first visit to his Colombian roots, channelling the vibrant rhythms and spirited streets of Bogotá.

Sonically, Molina balances Latin pop traditions with synth-driven, new wave innovation. Angular guitar lines delicately ascend through the arrangement, soaring beyond the quickening heartbeat echoed by rhythmic beats. Retro-futurist synth textures amplify the emotional intensity, enveloping listeners in an atmosphere of ardent nostalgia. Molina’s diaphanous vocals, effortlessly slipping into vibrato, further amplify the authenticity and emotional depth of the love letter to sincerity and intimacy, which illuminates a romantic narrative with sophisticated yet accessible charm.

‘What’s That Light in Your Eyes’ is now available to stream on Spotify.

Review by Amelia Vandergast

Ian McFarland Used Pop Punk to Augment Optimism in His Latest Single, You Are So Loved

If there’s any justice left in indie’s distorted underbelly, Ian McFarland will be recognised as the artist who gave serotonin back to pop-punk. The Brooklyn-based singer-songwriter has already earned a presence across regional charts and NYC live haunts, but You Are So Loved deserves to break much further beyond.

Following a sticky-sweet synth-pop intro, the single throws the genre right back to the golden era of visceral expression with its pop-punk crescendo of unfiltered optimism. But the stylistic transgressions don’t end there. Jangly new wave indie-pop nestles into the volition of the punk-tinged foundations, allowing McFarland to exhibit one of the most distinctive sonic signatures we’ve heard this year.

It’s not just the sound design that makes You Are So Loved cut through the cynicism often used as a crutch in alt scenes. McFarland weaponises sincerity as if it’s a subversive act. There’s bravery in broadcasting this much raw affection, especially within a genre known for self-deprecation and detached irony. But McFarland knew what he was risking—being written off as cloying or sentimental. He bypasses that pitfall entirely with his unshakable authenticity.

Born from a need to pull joy from bleakness, You Are So Loved is an adrenaline shot of altruism for anyone who needs to remember that the world can still look beautiful through a cracked lens.

You Are So Loved is now available to stream on all major platforms, including YouTube. 

Review by Amelia Vandergast.