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Reggae

High Watah’s Brighter Days Is Island Reggae with Sun-Kissed Salvation for the Heartbroken

Posted on 6 August 2026

For anyone going through a heartbreak summer, High Watah has prescribed the ultimate Hawaiian reggae-rock antidote with their latest single, Brighter Days. Hailing from Molokaʻi, the island reggae outfit uses its geography as part of the sonic chemistry, letting ocean air, melodic pop, country warmth and RnB softness move through a release built to reassure anyone guarding a bruised heart.

Coaxing listeners away from the idea they are never going to love again and that this feeling will last forever, the consolation within Brighter Days arrives as a form of sun-soaked salvation. There is something in the way the oceanic atmosphere evokes a tropic balm for scarred souls. It is a release that makes you feel seen, licks your own wounds for you with staccato guitar rhythms and pure soul harmonies honeyed in the same summer sweetness that put Peter Andre on the map with Mysterious Girl.

That sweetness never slips into escapism. Keldin Calairo-Nakagawa, Nate Brown, Jorell “Jay.Keyz” Nacapuy, Conor Tomas and Jordan Tano deliver a patient, open-hearted reminder that past pain can loosen its hold when someone meets your fear with care instead of pressure. Produced, mixed and mastered by Grammy-winning, multi-Grammy-nominated Jason “J-Vibe” Farmer, whose credits stretch across Morgan Heritage, Collie Buddz, Rihanna, Sean Paul, Maoli and J Boog, the track gleams with radio-ready polish while holding its emotional centre intact. It is enough to feel as though you have had a heartbreak holiday without ever grabbing your passport.

After three self-produced EPs, Watah Boys Vol. 1 and more than 68 million catalogue streams, High Watah is more than ready for the horizon ahead. With some of their biggest shows to date in addition to Watah Boys Vol. 2 being in the pipeline, it won’t be long until they reach the shores of the Island reggae pantheon.

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

Review by Amelia Vandergast

The Going Rate – Road to Nowhere: A New-Wave Ska Riot Fueled by Iridescent Horns

Posted on 10 February 2026
Road to Nowhere by The Going Rate

In The Going Rate’s Road to Nowhere, the galloping guitars rush forward with a momentum, carrying iridescent-with-euphoria horns that flare against the rapturously zealous vocal delivery. There is no separation between voice and instrumentation; they surge together as a single ecstatic force, turning the age-old idiom at the track’s core into a spark of renewal capable of tilting a worldview back toward possibility.

The slightly surrealist middle eight deepens the sense that stepping into The Going Rate’s whirling dervish of a ska world comes with its own rites. Expectation becomes irrelevant when uncertainty is greeted with a smorgasbord of talent, zero restraint, and a vitality that very few outfits inside or outside the ska zeitgeist have the audacity to carry. The vocals act as a steadying force within this sunny side up burst of serotonin, radiating the kind of exhilaration that would surface if Debbie Harry had steered Blondie headfirst into ska. It’s a new-wave riot with its blood up.

The narrative behind the brightness reaches further than the thrill of the arrangement. Road to Nowhere was shaped as an anthem for reclaiming your own direction through doubt, obstacles, and the weight that gathers when you forget your own agency. The horn-heavy progressions and fast-paced guitars pull that intention into physical motion, sending the listener through winding harmonies and straight into an uplifting final chorus. The unresolved closing chord leaves the question hanging in the air, nudging the listener toward whatever comes next.

As a collective, The Going Rate fold their multi gender, multi racial line up into a sound driven by unity, exuberance, and an unwavering support of original music across Long Island, New York City, and the broader Northeast.

Road to Nowhere is now available on all major streaming platforms via this link.

Review by Amelia Vandergast

The Holidazed Let the Psyche Bloom in the Sun-Warped Escapism of ‘In My Garden’

Posted on 9 June 2025

When the vibes are as high as the instrumentals are hypnotic, carried by intricate time signatures that warp the mind before the feel-good euphoria seeps into the psyche, you know you’ve stumbled across a diamond in the rough. Case in point, The Holidazed’s latest single, In My Garden, is escapism in its purest form.

There may be nods to the pains of the human condition, but nothing that weighs heavy enough to pull the sheer infectious empowering sanctity of In My Garden down to earth. It remains a safe space on the airwaves to sink into and float within. Within the fabric of the prog rock, there are angular contortions of indie post-punk guitars that take the typical cold monochromatic chill, park it on a sun lounger and give it a sun tan.

The Holidazed, with More Better Band riding shotgun, are clearly on a mission to stretch the limits of sound and serenity. Their reggae-infused progressive rock isn’t manufactured to move units, it’s built to transport souls.

After relocating from Jacksonville Beach to South Florida, The Holidazed doubled down on the freedom in their sonic DNA. Whether they’re tearing through high-energy sets or folding saxophone textures into lush rhythmic psychedelia, they’re chasing moments that unchain the listener from the mundane. They channel the perseverance of underdogs, the hope of dreamers, and the spirit of sweat-soaked liberation with a sound that’s equally chaotic and calculated. Save your soul and get stuck in.

In My Garden is now available to stream on all major platforms via this link.

Review by Amelia Vandergast

Strings and Soul Grooves Anchored Fletcher Jr Jr’s Meditation on Time in ‘Days Come and Go’

Posted on 6 June 2025

There are few better ways of acknowledging how the sands of time ceaselessly slip than sinking into Days Come and Go, a filmic track that uses the pull of classical strings to take you right back to the golden era of Hollywood while juxtaposing them with folksy acoustic guitar chords, staccato rhythms, grooves of Motown and soul that the genre-fluid singer-songwriter pours from every pore in his vocal timbre.

It’s not your typical fusion, but under Fletcher Jr Jr’s tenderly expressive care, every element ties together to paint a panorama of emotion. There’s soul for the warmth, funk for the uplifting groove and orchestral swells to sweep ornate strokes upon the introspective frame that pontificates how living carries little meaning without loving.

Forever unchained from any one particular genre, Fletcher Jr Jr follows the thread of whatever instrument he picks up and lets it guide the composition. From prolific album releases to original tracks uploaded weekly on YouTube, his focus never wavers from the pursuit of a perfect song or lyric to shine a light on the darkness.

Days Come and Go is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Dukes of Roots reimagined Pink Floyd’s ‘Money’ as a Soul Drenched Protest Against Capitalistic Tyranny and Oppression

Posted on 6 February 2025

To kick off 2025 following a successful 2024 run, Dukes of Roots present ‘Money’, a single that filters the iconic Pink Floyd classic through a roots reggae rock lens, resulting in a sonic revival which spills soul by the smorgasbord, instantly transplanting the listener in a tonal utopia where the grooves come easy, and the high vibes come easier.

Released on the 24th of January, the rework, which translates as though it should have always spilt from Dukes of Roots’ cultivated hands, has already racked up almost 10k streams on Spotify alone as an attestation to the salvation that radiates from the reggae rhythms.

The release stands as a carefree protest against capitalistic greed that hits just as hard as it did in 2025 as it did in 1973. While it’s depressing that money has even more of a chokehold on us in the 21st century, there’s plenty of solace spilling through the organically rich and expansive production that makes the staccato guitar chops and the lead vox the centrefold of this ingenious reimagining.

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

Review by Amelia Vandergast

Dave Sereny cast his gaze on ‘Brighter Days’ in his funk-fuelled gospel of hope

Posted on 16 January 2025

Toronto-based guitarist and smooth jazz virtuoso Dave Sereny gifted a sonic sermon steeped in optimism and resilience with his latest single, Brighter Days. With a groove underpinned by staccato reggae guitars, Sereny creates an intricate interplay of funk and jazz fusion that carries an irresistible pulse. His vocals, effortlessly soulful and evocative of Marvin Gaye and Bill Withers, deliver the song’s lyrical fortitude, tackling global adversity while shining a light on perseverance and hope.

The addition of choir-esque backing vocals amplifies the track’s radiance, wrapping Sereny’s smooth delivery in harmonised warmth. The melodic complexity sits comfortably within the genre’s upper echelon, but the track never leans into gratuitous technicality—it feels alive, breathing with sincerity and intent.

Sereny’s guitar work is a testament to his time spent honing his craft in the studio and on countless festival stages alongside legends such as Warren Hill. As part of a forthcoming album featuring a mix of original tracks and reimagined classics, ‘Brighter Days’ sets a high bar for what’s to come.

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

Review by Amelia Vandergast

Thalia Jailene spun emotion into rhythmic gold with her standout single, Sueñitos

Posted on 9 December 2024

Thalia Jailene’s latest single, Sueñitos, weaves hypnotic rhythms straight into the soul. From the opening notes, choppy staccato reggae guitars tease the senses, making way for warm flamenco licks that unravel through the vibrant sonic fabric. Thalia’s smooth, serotonin-laced vocals glide effortlessly over the textured layers, delivering an exotic and arcane soundscape that feels as seraphic as it is unique.

The Latina singer-songwriter, multi-instrumentalist, producer, and music educator, now based in North Carolina, demonstrates her ability to blend her eclectic influences—from Paramore and No Doubt to Amy Winehouse and Bob Marley—into a sound that transcends genres. Her self-described “music alchemy” transforms raw emotions into an intoxicating mix of pop, rock, and reggae, with Sueñitos embodying her commitment to organic euphoria while the rest of her discography attests to how she never shies away from darker themes.

Hi play and prepare for full immersion as your senses are flooded with colour.

Sueñitos is available to stream on all major platforms via this link.

Review by Amelia Vandergast

Adline Owens is leading a revolution in autonomous self-determination in her Afro-Fusion release, T•R•T (The Right Time)

Posted on 6 December 2024
Adline Owens

With a gravitational force that could knock the solar system out of orbit, it would be insulting to mark Adline Owen as merely just an icon; she’s a fusionist phenomenon in her own right, leading a revolution in autonomous self-determination with her latest release, T•R•T (The Right Time).

The two-track release synthesises her diverse cultural and musical influences into a compelling narrative of empowerment and self-discovery, marked by Afrobeat, Dancehall, Reggaeton, RnB and Afro-Soul motifs.

The opening track, ‘In Yeah’ evocatively explores relationship dynamics, considering how ‘good enough’ should never be enough if you know your worth and urging listeners to recognise their own value through its Afro-Soul vocals and the energetic pulse of dancehall. When it comes to pairing introspection with infectious beats, Owens reigns supreme.

The second single, ‘Dem Wah Know,’ turns up the heat with its Reggaeton rhythms and bold, assertive vocals that command attention. Owens’ fierce delivery and the track’s vibrant energy make it an anthem of self-assurance and resilience, encapsulating her refusal to be confined by her roots or her haters’ expectations.

With T•R•T, Adline Owens not only cements her status as a dynamic fusion artist but also as a visionary capable of weaving her diverse musical heritage into a fresh, invigorating sound that resonates well beyond its Afro-Soul roots.

Adline Owens Said

“T•R•T is a project that holds great personal significance for me, showcasing my range across Afrobeats, Dancehall, and R&B, which underlines my identity as a fusion artist.

Track 1, ‘In Yeah’, explores the love and understanding shared in a relationship that still leaves you wanting more effort. This track vocalises the need for personal growth and the tough decisions you must sometimes make for your sanity. It portrays the protagonist’s struggle with a partner who lacks ambition and motivation—essentially a dead weight needing to be let go.

Track 2, Dem Wah Know, I wrote while reflecting on obstacles and my journey as an artist. It focuses on resilience, self-belief, and the importance of stepping up despite the odds being stacked against you. It’s an empowering anthem and a reminder not to let haters dictate your success.”

Follow Adline Owens on Instagram and discover her discography on Spotify.

Review by Amelia Vandergast

ARCTISKY countered divisive propaganda with his latest slice of reggae folk pop gospel,  Let Freedom Ring

Posted on 9 August 2024

By using MLK’s famous speech which shares a vision for an egalitarian future in the intro to his latest single, Let Freedom Ring, the Melbourne-based singer-songwriter, multi-instrumentalist and producer, ARCTISKY, affirmed that almost 80 years have passed since the revolutionary called for peace and equality, yet, tragically, his dream is yet to manifest.

The sublimely uplifting folk-tinged reggae rhythms counter the divisive propaganda perpetuated by the media which is playing a pivotal role in increasing hostility as ARCTISKY’s arcanely honeyed harmonies become conduits of compassion within the gospel-esque atmosphere of the cultivated single which paralyses through the purity within the crescendos.

Let Freedom Ring is an opportunity to slip into the sanctity of a conflict-free society, a reminder that we can’t stand idly by and hope that a resistance rectifies the pervasive prejudices that are destroying societies and making enemies of the innocent. The call to action which sets a tone of historical reflection and aspiration couldn’t hit closer to the bone.

Let Freedom Ring will be available to stream on all major platforms from August 9th. Find your preferred way to listen on ARCTISKY’s official website.

Review by Amelia Vandergast

Samana Rising is radiantly irreplicable in their summer soul-rock anthem, Sunshine

Posted on 30 June 2024

Samana Rising’s summer soul-rock anthem, Sunshine, is a radiant declaration of musical vitality and versatility. This first release since their debut album in 2020 confirms that the Norwegian band hasn’t just been biding time. Between life’s milestones and global upheavals, they’ve refined a sound that shines and erupts with irreplicable radiance.

Recorded at ArtBeat Studio in Bryne, with the adept Bjørn Erik Sørensen at the production helm, Sunshine marries an instantly memorable guitar intro with a reggae-inspired rhythm that’s irresistibly danceable. This track is engineered to lift spirits and coax listeners from the mundane to the magical. Mastered with precision in Nashville by Alex McCollough, every note is crafted to perfection, capturing the essence of pop rock while promising more than typical chart-toppers.

Hanne Sivertsen’s vocals could light up any room, soul or playlist; the immense power in the delivery, paired with the charismatically magnetic proclivity, ensures that this latest sonic triumph resounds with maximum euphoric impact.

Lyrically, Sunshine presents an opportunity to celebrate the people who light up your world as much as solar rays; wherever you play it, you won’t be able to resist its demand to be played LOUD.

Sunshine was officially released on June 21; stream the single on Spotify now.

Review by Amelia Vandergast