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Abi Muir Swapped Heartbreak for Neo-RnB Empowerment in the Soul-Soaked Pop Single, ‘On One Knee’

When Abi Muir unveiled On One Knee, she did more than just shake up the neo-RnB scene, she served a power-laden anthem that swaggers with sultry confidence and unapologetic command. The staccato guitars undulate like the tide behind Abi’s velvet-soft yet iron-strong vocals, bringing cinematic nostalgia and a new sense of freedom to a genre so often lost in shallow games and sugar-coating. Here, romanticism reclaims its rightful place in the mainstream, with Muir taking a sledgehammer to the concept of being anybody’s second choice.

There’s a subtle groove pulsing through every beat, with each lyric dripping in bold, feminine fire; a battle cry for anyone who’s been left picking up the pieces. Forget shrinking to fit someone else’s mould, Abi’s vocals flicker with vulnerability one minute and burn with savage self-worth the next.

If you’re craving a post-heartbreak soundtrack that doesn’t wallow in regret but flips the whole narrative, this is it. The real beauty of On One Knee lies in the way it transforms heartbreak into a statement of intent; it’s the sound of a woman reclaiming her worth, putting herself first, and demanding the world rise to meet her.

Abi Muir’s ascent in the new wave of emotionally charged pop has seen her take the stage across Australia and abroad, with her music racking up accolades, radio chart success, and streaming numbers that speak volumes. Her voice, described as a tropical breeze in the music world, now carries the weight of an anthem that every girl’s night out deserves to have on repeat.

On One Knee is now available on all major streaming platforms, including Spotify. 

Discover more about Abi Muir via her official website. 

Review by Amelia Vandergast

Alexandre Perotto Tended to Crooked Chords and Hypnotic Candour in ‘Quiet in the Static’ – Indie Folk for the Unsure

There’s a rare sort of intimacy woven through Alexandre Perotto’s single, Quiet in the Static. The Brasília-based singer-songwriter brings lo-fi indie folk into sharp focus, dialling in on that sweet spot where confessional honesty and melodic rawness intertwine. Perotto’s approach—quick to record, unwilling to let feeling slip away—results in a piece that almost breaks the fourth wall. Each twang and slide of guitar feels vast yet close, creating an Americana-tinged atmosphere that hums with sincerity rather than showmanship.

Quiet in the Static is hypnotic in its simplicity. The production welcomes every imperfection, allowing Perotto’s humble vibrato and unguarded lyricism to take centre stage. It’s the sort of folk that doesn’t just sit quietly in the background; it seeps in, coaxing out your own melancholy and offering a soft reprieve. The vibrato echoes, gentle but potent, wrap around the listener with the ease of a private conversation shared in the small hours. There’s a natural sense of relief that comes from hearing someone willing to let the pain breathe without forcing resolution.

For anyone allergic to the formulaic and the over-polished, Perotto’s crooked chords and candid songwriting offer a welcome refuge. It’s a release that speaks to those who find comfort in imperfection, and who believe that music ought to be felt before it is polished.

Quiet in the Static is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

John Arter & The Eastern Kings and Liv May Younger Pulled No Punches on Isolation in the Sepia-Soaked Country Noir Single ‘Shutaway’

There’s no missing the ache that runs through John Arter & The Eastern Kings’ latest single, Shutaway, which drags the heart into the very centre of solitude and lets it linger there, exposed and unguarded. From the first breath, you’re met with a hush of strings and lap steel that don’t so much fill the silence as paint it in all its sepia-tinged clarity.

Arter’s songwriting voice, always raw and literary, winds indie Americana tight around the soul, tracing the heavy lines of introversion, longing, and that stubborn refusal to let wounds heal. When Liv May Younger joins in the second verse, her vocal timbre entwines with Arter’s, turning isolation into a duet—a secret pain made almost sacred.

Shutaway builds its world with details you can almost taste: sweeping strings, a bassline that gently pulses beneath the surface, and a cinematic melancholy that feels panoramic in its reach. This is a ballad for those who recognise the comfort in shutting yourself away, for anyone who has let pain become the only thing left to cling to. Even with its full-bodied production and the compassion that pours from every vocal note, there’s no denying this is one of the most thematically scarring alt-country singles to arrive this year.

John Arter & The Eastern Kings have always been a band who walks the edge between the old stories and the wounds of now. With a debut album, ‘Not Just a Story,’ bringing myth and modern memory together across ten tracks, their place in the UK Americana scene is only getting sharper, wilder, and more vital with every release.

Shutaway is now available on all major streaming platforms, including Spotify. 

Review by Amelia Vandergast

12 O’Clock Club and Tim Hesse Sent Jazz Orbiting Beyond the Familiar with the Spacey Synths and Smoky Grooves in ‘Current State Unknown’ 

There’s no bad time to slip into the sonics of 12 O’Clock Club, especially after the arrival of Current State Unknown featuring Tim Hesse. The London-based session bassist Antonio Val, known for lending his pulse to The Streets and Lily Allen, took a sharp creative turn with this project.

What began as a remote experiment during a creatively reawakened spell is now bursting out of the screen and into real rooms, inviting listeners to experience jazz that breathes genuine connection. Val’s commitment to live, in-the-room collaboration gives each groove a sense of occasion—nothing gets lost in translation when the musicians are genuinely locked in.

If you let yourself savour the title single from the EP, Current State Unknown, the flavours are immediate and unpredictable. Space-age synth lines wind through polyphonic grooves, Tim Hesse’s sax weaving noir textures into the track’s already cosmic palette. The sense of late-night London lingers with every note.

Even the most daring fusion artists rarely find these peculiar pockets of funk. Yet Val, with his decade away from the scene and a heart full of lived contradiction, makes this blend feel inevitable. God bless those 80s analogue synths for their ability to launch the listener into the unknown while keeping the groove thick and grounded. Underneath the swirl, you sense Val’s story—years away from music, a thirst for meaning, and the honest chaos of everyday life. With festival dates lining up for 2026, 12 O’Clock Club is poised to bring their spellbinding live energy to a wider stage.

Current State Unknown is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Jody Cooper Composed a Memorial in Sound – An Interview with the Songwriter Behind “40 Years”

40 Years by Jody Cooper

With 40 Years, Jody Cooper channelled raw remembrance into a powerful tribute shaped by truth, melody, and conviction. The single responds to the #OurStoryIsOne campaign, which marks the 40th anniversary of the execution of ten Bahá’í women in Shiraz. In this deeply reflective interview, Jody opens up about how personal connection fuelled his creative process, why accuracy matters when telling stories through song, and how a move to Germany reshaped his understanding of generational trauma. His approach to composition balances delicate introspection with cinematic weight, capturing both the sorrow and defiance carried through the decades.

Welcome to A&R Factory, Jody, and thank you for taking the time to speak with us ahead of your latest release. “40 Years” tackles a tragic and powerful story. Can you talk us through the moment you decided to write the track and how you approached translating such an emotionally charged subject into music?

In 2023, I received an email from the Bahá’í International Community (BIC) announcing the #OurStoryIsOne campaign, which commemorated the 40th anniversary of the execution of ten Iranian women by hanging. Their ‘crime’: being Bahá’ís. The campaign asked for, among other things, artistic contributions that might highlight these women’s story. As soon as I read that, I knew I had to attempt to write something. My only musical reference at that point was a song by the Canadian Bahá’í musician Doug Cameron that I’d heard as a child called “Mona With the Children” – a powerful song with an even more powerful music video which tells the story of the youngest of the ten women: the 17-year-old Mona Mahmoudnejad. My songwriting process began, simply, with me sitting at the piano and playing around with some chords and melodies.  From experience I knew that, if I could connect with the story on a personal level, then the ideas would flow. After that, the first couple of lines came out quite naturally.

As a Bahá’í artist, how did your personal connection to the women commemorated in the #OurStoryIsOne campaign shape your creative process, both lyrically and musically?

This was really important, as, without that personal connection, I wouldn’t have been able to write. So I started by reading everything on the internet I could find about the ten women. I wanted the lyrics to be vividly accurate and describe some of the experiences that they went through (imprisonment, torture, etc.) so that the listener could visually imagine what the women were going through at the time. In the opening lines and in the chorus I tried to lyrically draw on the emotions I first felt as a child when I heard the news of their execution, as well as how I felt now in retrospect. Musically I wanted to portray two sides to the story: the darkness of the women’s experiences described in the verses juxtaposed with the nobility and bravery – the light – of the choruses.

Given the political and spiritual weight behind “40 Years”, did you find it more difficult to record compared to your previous material, or did that sense of purpose give the process more clarity?

Definitely the latter. Sometimes, when I’m recording in my home studio, it can be very easy to just allow oneself to go off on a tangent and experiment. The end result is that you lose forward momentum on a project. But, with the strong sense of purpose I had here, I knew the recording had to be worthy of the subject matter. That really helped to focus me and to concentrate on what really mattered in service of the song.

You’re originally from the UK but are now based in Germany. Has the change in environment had an influence on how you write or present your music, particularly when handling themes that are so grounded in global human rights issues?

Even though it’s a subject matter I’ve written a lot about, I think living in Germany has definitely made me more aware of human rights issues, especially given the country’s history. There is a term here which translates as “generational trauma”, which people are only in recent years really beginning to realise and try to tackle. It’s not something I was familiar with before I moved here, but I find it a fascinating subject and one that I have even begun to tackle in my songwriting.

The story behind this single spans four decades and touches on themes of courage, injustice, and remembrance. What role do you think music should play in preserving and amplifying historical narratives like this?

If there’s one thing I’ve observed in life regarding history, it’s that people often have short memories, and, sometimes, that is deliberate, for example, when you are trying to protect yourself from past trauma. But, of course, that can lead to us not learning from our mistakes and, ultimately, making those same mistakes again. I find that music has the power to cut through all those protective ‘walls’ that we put up around us, to open old wounds and, through that voyage of self-discovery, inevitably heal us in the process.

In terms of instrumentation and production, what decisions did you make to reflect the gravity of the story being told, and were there any particular musical influences that helped you shape the tone of the track?

Based on the basic acoustic guitar version I had when I finished writing it, I knew the instrumental arrangement would have to be much more dramatic to adequately portray the story musically. This realisation led me naturally to a heavier, electric guitar-based production. It also influenced how I approached the singing, e.g., delicate and intimate vocals in the first verse and chorus but building in intensity throughout the song. In terms of influences, I definitely had Kings of Leon and U2 in my head when I was recording it.

When releasing a song with such historical and spiritual weight, how do you balance the need for artistic expression with the responsibility of representing real events and lives with accuracy and respect?

As a songwriter but also as a fellow Bahá’í, it was important to me to get the facts right. Obviously, it’s not possible in a few minutes of music to adequately portray everything that those ten women went through, but I hope I captured the essence of it. And that’s the beauty and magic of music: sometimes you can express through the combination of melody and lyrics something more clearly and powerfully than you can with mere words alone.

What kind of response are you hoping for from listeners, particularly those who may not be familiar with the Bahá’í Faith or the story of the ten women in Shiraz?

I hope the song will enable listeners to put themselves in these women’s shoes, to imagine their feelings as their own, to inspire them to learn more about their incredible story through the #OurStoryIsOne campaign and to raise a vital call against injustice. Yes, these women were ultimately killed because they would not recant their faith, but their story reveals a much bigger truth about the status of women in Iranian society. These women believed in the equality of women and men and the unity of religion – two important Bahá’í principles that go against the current regime’s policies – and they were willing to die for those beliefs. But change happens whether we (or they) want it to or not. And it’s only through being able to believe that we can change positively that such hatreds and ignorance can be overcome. If my song leaves you with that thought, then I’m happy.
Discover more about Jody Cooper via their official website. 
Interview by Amelia Vandergast

From Ashes, BRIEL the Artist Speaks: An Interview on DAMN GENESIS, Faith, and Full Expression

With DAMN GENESIS, BRIEL the Artist confronts everything the world tried to erase or diminish—faith, queerness, vulnerability, and the murky truths that live between healing and harm. In this full-length interview, he opens up about the emotional and spiritual labour behind the project, from tearing down false identities to writing through temptation, grief, and grace.

Drawing from the richness of Black and queer culture, his relationship with Jesus, and years of inner reckoning, BRIEL built something far deeper than a debut tape. He built a statement. If you’ve ever tried to reclaim a piece of yourself the world tried to shame, you’ll want to hear what BRIEL has to say.

1. DAMN GENESIS feels like a powerful declaration. What drew you to that title, and how does it anchor the emotional and conceptual foundation of the tape?

The title DAMN GENESIS came from my faith in Jesus Christ. After giving my life to Him, I built a relationship where I could bring all my pain, confusion, and mistakes to the altar. While working on this project, I found myself doing a lot of inner healing—telling stories I had kept buried inside. Through prayer, I began to process my past, but I also struggled. I fell into temptation and sin while trying to live in a way that honored God. I felt lost, ashamed—damned by my own habits. But even in that, I knew this was just the beginning. Not only of my walk with Christ, but of my purpose, my voice, and my career. That’s what DAMN GENESIS is—beauty born from brokenness, and a bold start rising from everything I thought would hold me back.

2. You’ve spoken about burning down false identities to reclaim your power—can you walk us through what that deconstruction looked like for you in your personal life and how it fuelled the creative decisions on this project?

As a gay, Black man, I’ve had to navigate a world that often decides who I am before I even speak. There were so many stereotypes and assumptions placed on me that, for a long time, I felt like I had to fit into the boxes others put me in—rather than live as the person I truly am in my heart. That kind of pressure strips you of your identity. But in seeking Christ, I found a deeper sense of purpose and truth. It helped me start focusing on who God says I am, not who the world expects me to be. That shift pushed me to reclaim my voice, to be fully myself without apology. People will always have something to say, even if they don’t know you from a can of paint—but God knows all of me, and that truth gave me the confidence to create from a place of freedom, not fear.

3. There’s an intensity in that dual theme of destruction and rebirth. How did you approach shaping the sonics and lyrics to reflect that emotional push and pull?

That emotional push and pull came straight from my lived experience. Nothing about this project was calculated—it was messy, unpredictable, and real. I didn’t go in with a concept or structure. I just started freestyling over beats I found on YouTube and jotting down whatever came to me in my notes app. One day I’d feel like everything was finally coming together, and the next I’d spiral—depressed, anxious, numbing the pain with weed, questioning if I should even continue. At one point, I thought about turning the project into a short EP, or scrapping it altogether. But instead, I let the music hold space for everything I was feeling—no plan, no pressure, just truth. That’s what gave it its emotional weight: it’s not polished pain—it’s lived-in, raw, and honest.

4. From THE BLINDS to LADIES SONG, and now BLUR, there’s a clear thread of peeling back layers. How has your relationship with vulnerability evolved across those singles, and what space did you reach within yourself to create DAMN GENESIS?

By the end of 2024, I realized I had built a catalog of songs that were all deeply vulnerable in their own way. Each one revealed a part of me I had either hidden, ignored, or just started to understand. I was intentional about the rollout—THE BLINDS came first because it felt like a soft opening, a way to ease into the truth. LADIES SONG came next, during Women’s History Month, as a tribute to the women who’ve shaped me and held me down. And then BLUR—that was the emotional gut punch. It set the tone for DAMN GENESIS and opened the door to the sound and spirit of the project.

Through these songs, my relationship with vulnerability shifted. I stopped writing just to express pain—I started writing to process it, to heal from it, and to connect. DAMN GENESIS became a space where I could finally introduce myself as I am: no masks, no filters. Just the truth, in every shade it shows up in.

5. As a gay, Black artist from the Bronx, how have your roots and identity carved out your path sonically? Do you feel that DAMN GENESIS allowed you to express that intersection more freely or differently than before?

I think what really carved out my path was learning to embrace and appreciate the culture I come from—not just existing in it, but recognizing it as powerful. DAMN GENESIS is the story of me stepping into that fully. The freedom found in the queer community—especially ballroom culture, the celebration of femininity beyond gender, and the unapologetic spirit of self-expression—taught me how to own every part of who I am. The same goes for being Black—our language, our style, our influence on pop culture and music—it’s all deeply ingrained in my sound. I’ve always had those roots, but I was afraid to show them.

DAMN GENESIS gave me a platform to express the Queer community that lives within me and around me. On the skit at the end of CHEQUE, I drew inspiration from how openly and playfully some gay men speak when they feel safe with one another. In tracks like SITUATIONSHIP and BLUR, I use terms like “bareback” and “bottom”—words that hold specific meaning in the gay community, especially in a sexual context. Including them wasn’t for shock value; it was about reflecting the language and truth of the world I come from. This project gave me the freedom to be fully queer and expressive, to explore femininity without losing my masculinity—and to tell my story without holding anything back.

6. The Coming of the Year Sessions feels like more than just a concert series—it’s intimate and communal. How have those performances helped shape your confidence, and has the audience response fed into any of the choices you made while finishing the tape?

DAMN GENESIS was already finished before The Coming of the Year Sessions kicked off in February 2025, but those shows changed everything for me as a performer. The audience feedback didn’t shape the tape itself—but it reshaped how I think about bringing it to life. It reminded me that people don’t just want to hear music—they want to feel it. They’re craving connection, storytelling, a real experience. And that pushed me to think bigger.

I realized that a live show should be more than just a replay of the studio version—it should be 100 times more alive, more raw, more unexpected. That’s when I really understood the power of performance. You can have the most incredible project, but if the experience doesn’t match the heart you put into it, it won’t land the same. Those performances taught me that the real magic happens when you take what you created in isolation and build a world around it that your fans can step into. That’s where the bond becomes real.

7. This project carries a heavy emotional weight, but there’s defiance in it too. Was there a moment during its creation where you realised you’d finally said what you needed to say, without compromise?

The moment I finished PRETTY and decided it would close out the tape, I knew I had finally said everything I needed to say. Strangely enough, that song was the easiest to write—but the hardest to swallow, because it came from the deepest wounds. My biggest insecurity has always been tied to my beauty—my brown skin, my features, wanting to be loved and called beautiful even when I didn’t feel it myself. Growing up, I didn’t see people who looked like me being affirmed that way, and I internalized that. PRETTY became a song to myself, a moment of softness I had never really given. It healed a part of my inner child who had been bullied, dismissed, and never truly seen.

Another turning point came with DANGEROUS. Years ago, I went through a breakup that I never fully processed. I remember catching my ex on Grindr, “hosting,” before we had even officially ended things. I kept it to myself—never spoke on it, just pushed through. But it left a deep bruise. Even though I’m in a loving relationship now, I knew I had to revisit that moment—not out of bitterness, but to release it. Writing DANGEROUS let my inner teenager speak—the one who felt betrayed, who didn’t know how to ask for closure. That song helped me reclaim that moment on my own terms, through my own voice.

8. As you prepare to release DAMN GENESIS, what do you hope listeners will carry with them after hearing it from start to finish, especially those who might also be navigating reclamation or reinvention in their own lives?

What I hope more than anything is that people truly listen to DAMN GENESIS—not just stream it, not just play it in the background—but listen. This project was designed to be experienced from start to finish, in order, like a journey. Every song is a piece of the human experience—love, loss, healing, temptation, joy, confusion—and I poured my heart into making sure each track could speak to someone out there navigating life in their own way.

My hope is that listeners find at least one song that hits them so deeply, they want to hold it close. I want the music to meet them in their rawest place, to help them process something they might not have had the words for before. Whether it’s healing an inner child, facing an uncomfortable truth, or finally feeling seen—I want DAMN GENESIS to be that outlet. And later, when they come back to it, I hope they hear that same song differently—as a reflection of how far they’ve come.

This project is about reclamation. Reinvention. Resilience. I just want people to walk away feeling like they found a piece of themselves somewhere in it.

Discover BRIEL the Artist on Spotify and learn more about the artist via their official website.

Interview by Amelia Vandergast

Jade Aya Synthesised European Charm and Pop Soul Seduction in I Won’t

The Norwegian-Vietnamese artist Jade Aya has just dropped a lush RnB-pop track, I Won’t, spilling sun-soaked romanticism like petals drifting down from a Mediterranean veranda. This is summer soundtracked in ways you hadn’t quite imagined but now definitely need; it’s sweet, sultry, and sprinkled with just enough offbeat charm.

Infused with accordion and violin, the track swirls through quirky, folksy polka textures, giving it a vintage European edge. Aya’s voice moves effortlessly between the poise of a Parisian chanteuse and the fierce soul of a cabaret diva; picture Christina Aguilera swapping glamour for rustic charisma and you’re halfway there. It’s pop without the sickly aftertaste; stylishly firm yet tender, a declaration of devotion that holds nothing back.

Jade Aya’s songwriting captures the tangled feelings of modern-day romance, or rather, situationships, with refreshing honesty. Her ability to fuse joy and melancholy into a single melody proves she’s more than comfortable stepping away from predictable pop formulas. Aya’s debut already hinted at her boundary-pushing potential, but I Won’t makes it clear: this is an artist ready to paint pop with a beautifully defiant new shade.

I Won’t is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Cigarette by Katie Belle Ignites Moody, Synthpop Sensuality

Atlanta’s own Katie Belle lit up the airwaves with her seductive indie-pop stunner, Cigarette. If you thought Taylor Swift went dark with Tortured Poets Department, Belle’s latest track goes one step deeper into moody introspection. From its flickering, neon synth pulses to her breathy vocal caresses, it’s an irresistible, sensuous sulk designed to give listeners way more than a quick nicotine buzz.

Sliding effortlessly between eras, Belle brings flashes of early Gaga glamour into her nuanced electronic textures, confidently marking her own territory. Her voice moves like smoke through shadow, effortlessly seductive yet loaded with a hint of vulnerability; the kind that’s impossible to fake. Cigarette isn’t about playing it safe—it’s about pulling you close and keeping you locked in with a hypnotic chorus that’s as addictive as it is dreamy.

Katie Belle’s been flexing serious songwriting muscle for years, with singles like West Coast and Symptoms earning her a growing wave of acclaim and streams racking up into the hundreds of thousands. Her pop credentials are legit, with Josie Music Awards and praise from the likes of BBC Introducing backing her upward trajectory. Belle’s artistic drive, fuelled by modelling gigs, acting roles, and performances across the States, brings authenticity to every sultry lyric she sings.

Cigarette is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

Ehson Hashemian Dropped Hyper Disco Heat with Indie Anthem Comes and Goes

Ehson Hashemian

SoCal’s own Ehson Hashemian just flipped the indie-pop script on its head with his latest single, Comes and Goes. It’s got that kind of hyper-disco energy that hits you straight away; buzzing from the get-go, yet Hashemian keeps the melodies in check, riding them smooth even when those guitar lines and synth pulses could send you spinning.

His vocals land somewhere between suave and sweet; imagine if Alex Turner ditched his ice-cool act and just properly vibed out, no filter—pure charm, no postured swagger. You won’t sit still to this one; it’s an infectiously idiosyncratic anthem that’ll turbocharge your playlists quicker than you can say “repeat button.”

But here’s the beauty of Comes and Goes: it’s not just some fizzy, throwaway bop; beneath the sugar rush, it taps into something deeper, gently reminding us that life’s all about rolling with it, letting things flow in and out naturally rather than obsessing over control. There’s lyrical gold by the smorgasbord tucked inside one hell of a catchy tune.

Hashemian’s been around the block, too—ex-keys and co-writer for Young the Giant back when they were called The Jakes, co-writing the double platinum hit Cough Syrup, and now dropping his fourth solo album, Believe. Safe to say, this guy knows how to lay down a memorable hook or two.

Comes and Goes is now available on all major streaming platforms, including YouTube.

Review by Amelia Vandergast

What I Want by Laura Loh Transformed Desire into Euphoric Soul-Pop Serenity

Laura Loh made no concessions with desire in her latest single, What I Want, a soulful, spiritually-charged revelation that showcases a level of intensity we’ve not previously seen from her, nor from anyone else currently shaping the pop landscape. Euphonically healing instrumentals provide catharsis without diluting the passion spilling abundantly from Loh’s performance. Her voice resonates beyond its harmonies, filling every aural atom of the track with an otherworldly atmosphere that surpasses mere notes and chords.

The lyrical form may appear familiar, yet the sincerity of Loh’s expression is every listener’s stranger; she lays bare the designs of her heartstrings, pleading gracefully for their plucking in a definitive lesson of soul-pop innovation. Whether her soft yet emotionally incisive alt-pop sound comes from her classical training or her mixed English-Chinese heritage, there’s no denying that it is as authentic as it is affecting.

Already recognised by BBC Introducing and a fixture at respected festivals including Purbeck and Weyfest, Loh’s previous recordings at Abbey Road Studios mark a trajectory of continual ascendance. Her music consistently reflects her vulnerability and inner strength, never shying away from difficult themes such as mental health and resilience, offering listeners a profound connection through honest storytelling.

What I Want is now available on all major streaming platforms, including Spotify.

Review by Amelia Vandergast