Tapping into her country roots, Taylor Swift wrote this for the new Toy Story movie. With its playful combination of the inherently country instruments, harmonica and banjo, it is a cheerful little love song.
Ella Langley
Be Her
You’ve probably heard of Ella Langley, particularly her track ‘Choosin’ Texas,’ which sat at number one on the Billboard Hot 100 for an impressive 13 weeks! ‘Be Her’ is another popular track from her album Dandelion, and with its snappy, addictive chorus, she sings about who she wants to become: someone who leads a life of simplicity, fulfilment and authenticity.
Sam Barber
The More I Hope
A 23-year-old from Missouri, Sam Barber’s ‘The More I Hope’ is a more melancholy country track. With gentle fiddle and both acoustic and electric guitar, it is heartfelt and reflective, with the raw emotion audible in his voice.
Luke Combs
Sleepless in a Hotel Room
Luke Combs is a Grammy-nominated country singer, and his gravely vocals are on full display in this track. Topping the Billboard Country Airplay chart and marking his 20th number one single, ‘Sleepless in a Hotel Room’ expresses the loneliness of missing his wife on tour. With a cool electric guitar riff and drums, it combines country with rock.
Avery Anna
Blood Runs Thicker
Another track which merges country with rock is ‘Blood Runs Thicker’ by Avery Anna. This is a loud, powerful headbanger which explores the tensions between familial bonds.
COMMENT below what you think of these tracks and share your own recommendations!
Twangy guitars, a strong Alabama accent, and lyrics about ‘two-steppin,’ ‘Jack,’ and the I-40, Ella Langley’s ‘Choosin’ Texas’ is the country track that has been dominating the charts and has been stuck in my head for weeks! This song made Langley the first woman to simultaneously reach number one on the Hot 100, Hot Country and Country Airplay charts. Its popularity follows a trend which has seen country music take off in the past couple of years, and I wanted to explore why and what songwriters can take from this.
Country is a broad genre with a long history, dating back to the 17th Century when British and Irish immigrants brought their instruments and musical styles to the USA. Often covering themes of hardship and tragedy, this music featured stringed instruments such as the fiddle, guitar, violin, bass, and banjo, as well as other instruments such as the harmonica, accordion, and washboard. The genre has, of course, evolved since then and can be heard in a variety of forms. For example, Medium lists a number of sub-genres, from ‘Nashville Pop-Country,’ which, as the name suggests, is influenced by modern pop music, to ‘Traditional Country,’ which has an older sound, to the more satirical ‘Country Rap/Hip Hop.’
Country music has seen a revival in recent years, despite previously seeming to be in decline. It has become a globally popular genre, with country music festivals taking place around Europe, and popular mainstream artists have crossed over into the genre, for example, with the likes of Beyoncé’s Cowboy Carter album and Chappell Roan’s ‘The Giver,’ which reached number one on the Billboard Hot Country Songs. According to Chartlex, in the first half of 2025, country even became the most represented genre in the Billboard Hot 100 Top 10. The genre is particularly popular with Gen Z listeners; Chartlex states that listening in this demographic has increased by 72%, and as country singer Zara Lindeman told ABC News, “There’s a lot of younger people that probably haven’t grown up around the country lifestyle but are still singing about hunting and fishing.”
Elena Popel, a student interviewed for her school newspaper, the Riverdale Review, explained that the reason she prefers listening to country music over other genres is that “There’s no autotune. It’s just the artist and their guitar, and it feels more real. All the artists are really talented.” This makes sense, especially with the rise of AI, which can now write lyrics and produce music from scratch (check out my article on the topic, AI Music: Where Are We Now?). We must be careful when using the notion of authenticity, because ultimately, it is impossible to objectively say if one type of music is more ‘authentic’ than another, but it seems that listeners at least want to feel as if they are listening to music that is genuine. It is becoming increasingly difficult to distinguish between what is real and what is fake in all aspects of our lives, so I can believe that people appreciate the raw, human feel of country music. The use of acoustic instruments (as opposed to electronic ones) and lyrics that are often relatable and with transparent meanings is valuable when everything around us is so complicated. We are fed vast amounts of information and are constantly having to unravel hidden meanings and determine credibility – sometimes we just need a good song to sing along to!
Uplifting
Listening to Langley’s album Dandelion (thanks for the recommendation, Charlotte!), I find it uplifting and laid-back, and this seems to be a characteristic of the genre. I think that when we face lots of pressure as individuals, and there is such negativity in the world, this is what we really need!
What can songwriters take from this?
I do not suggest that all songwriters turn to country – I do not believe in forcing yourself into a genre or style purely because it is popular – always stick to what feels right to you! However, I do think that it is important for songwriters to be aware of this trend and the possible reasons behind it, as it says more about what listeners value than it does the music itself. For example, be aware that perhaps your listeners need to feel like they are seeing your authentic self and to feel uplifted and validated by lyrics that they can relate to and connect to.
Conclusion
A trend not many of us would probably have predicted, 2026 is being dominated by country music – and I do not think this is a bad thing! It brings the easy, uplifting music that we perhaps need in such stressful, demanding and complex times, and songwriters can learn from this.
COMMENT below any country artists/songs/albums that you’ve been enjoying, and if you’re a songwriter, let me know how this trend has impacted your work!
Aastha Mohapatra is a 24-year-old economist and operatic soprano from Odisha, India. We originally met at Hertford College, and I was delighted to reconnect with her recently to chat about her inspiring journey. I am excited to share the fascinating perspectives she gave on music, including how to engage with audiences and how music can bridge cultures, and she imparts advice for aspiring artists.
Since graduating from Oxford with a Master of Philosophy in Development Economics and International Development, Aastha has become a teacher of Economics and Business Management at The British School in New Delhi. Alongside her career in economics, she has featured in operas, a film, has released her first single, won international awards for her performances, and is a board member of the Centre for Peace and Performing Arts – a woman of many talents!
Engaging Audiences
As most musicians will have experienced, there is sadly a decline in government support for the arts around the world, leading to talent going “unnoticed and unsupported.” Aastha makes the crucial observation that to combat this, we must think carefully about how to engage audiences with music. She has noticed that
“people realise how important [music is] when you directly interact with them.”
This means presenting live performances that relate to them and paint a picture of the world around them.
Aastha’s innovative combination of opera with Odissi, an Indian classical dance form, achieved this. Indian audiences were introduced to the Western classical art form in a way that also incorporated their own culture, being shown that “art is not static” and “keeps on moving and changing.”
As the future generations of musicians, particular focus should be given to young people and how to engage them with music. Since “the age of specialisation is gone,” Aastha argues that the interdisciplinary nature of music should be emphasised, and instead of being taught in isolation from other subjects, it should be taught in relation to them, such as its inextricable link with mathematics.
Furthermore, Aastha suggests that young people should be involved as “active practitioners of music rather than passive listeners.” For example, with the Centre for Peace and Performing Arts, she created an ‘audience choir’ – for a viral example of this, check out Jacob Collier! She encouraged the children to listen sensitively to those around them to produce a unified sound. Not only were the children able to participate in music-making in an active way, but they were also taught essential communication skills, which, as she noted, are crucial for diplomacy.
To increase engagement with music, therefore, live performances should be prioritised with content that is relevant to people’s lives, and the art form should be introduced to young people in an interdisciplinary and active way.
Music as a Universal Language
You might have heard the phrase, ‘music is a universal language.’ Aastha’s story is a perfect example of this.
As an Indian singer who performs Western classical music, she is in a unique position – as she highlighted, opera is seldom practised in India. Moving to the UK for her studies made this even more apparent.
She often received comments about how rare it was to come across an Indian opera singer and noticed that she was usually the only person of colour when performing Western classical music in a group. These experiences made her realise that
“I’m an Indian opera singer, and that means something.”
Aastha proves that anyone can perform music from any culture; if the music resonates with you, “language is no barrier.” Music has allowed Aastha to find out more about the world around her by introducing her to new cultures and new people, poignantly referring to it as a “passport,” a notion I love!
Although she is often impressively cited as being the first opera singer of Odisha, she has made it a point to ensure she is not the last. I am certain that she will act as an inspiration for many musicians!
Advice
Aastha’s biggest piece of advice to aspiring musicians is not to be afraid of taking risks.
“If there is something that feels like it’s a little bit unconventional or something that others might not have tried before, do it if it really calls out to you.”
Particularly in an age where “young people are underestimated a lot”, she believes there is great merit in being brave and standing out, especially in such a competitive industry.
She also highlights that,
“as an artist, you are always rewarded for being fully yourself.”
Whilst this is not always the easiest thing to do (Aastha notes that she only truly became herself when she was 24 years old and that it is a continuous journey), trial and error, having people to look up to, and, when it comes to singing, finding a good teacher who understands your voice will help you distinguish yourself as an artist.
Aastha’s career so far has been unique and inspiring, and she has exciting plans to come. She will continue to perform around India, with a particular emphasis on bringing underperformed music by Indian composers to audiences. She also composes music for peace-building productions with the Centre for Peace and Performing Arts (which are coming to London – so keep an eye out if you are in that part of the world!)
She expresses articulate and thought-provoking perspectives about how to engage audiences with music, and her courage to pursue a genre that may have seemed unconventional proves how music can bridge cultures and the importance of following what ignites your passion.
I eagerly await seeing where Aastha’s journey will lead!
Hear me out. I’ve recently come back from a month-long trip to Australia, hence why this particular topic is on my mind. We listened to the Aussie band, Parcels, A LOT, especially their most recent album, LOVED. I said to Leo, my boyfriend, that there was something about this music that just sounded so Australian to me, and I couldn’t imagine it ever coming out of the UK! Now, this might be entirely in my head, but their music, which is so upbeat and joyful, just reminds me of everything I associate with Australia – the sun, warmth, liveliness and being outdoors. I contrasted it directly with what I tend to associate with the UK – rain, grey, cold and not much to do outdoors (sorry, UK!), conditions which surely make it more likely for slower, sadder music to be created? Whilst there are obviously artists who write sad music in Australia and lively, upbeat music in the UK, I just found it interesting that I even had this thought, and I wanted to research whether music can really be associated with or suited to certain locations.
WhistundaysSydney Opera HouseBrisbane
Evidence? (Or am I being delusional)
I did some research into whether there is any evidence to support this hypothesis, and it seems there are real reasons why an artist’s environment can influence the type of music they write. For example, Alsup describes how artists in urban environments might produce music which reflects the energy and chaos of their surroundings.1 I also found several articles noting how the seasons affect music – not just what type of music is produced, but also what listeners choose to listen to. To illustrate, a Reddit user describes how, when they tried to listen to James Blake’s album, The Colour In Anything, which is “obviously made for cold rainy days,” when the sun was out, “it just didn’t feel right.”2 They also list other albums and the very specific types of settings in which they think they should be listened to. Another user responded,
“As it gets into the autumn/wintertime I find myself listening to quieter, more slow-moving music.”3
Some commenters even note that they associate some music with specific cities, such as “The rising Toronto hip hop/R&B scene is heavily inspired by driving in Toronto at night in the winter” and how the British musician, Burial, is suited for “nighttime south London.”4
Furthermore, in their scientific study, Pettijohn et al. found that their participants “favoured blues, jazz, classical, and folk music (i.e., reflexive and complex) during the fall and winter months, and rap/hip-hop, soul/funk, and electronica/dance music (i.e., energetic and rhythmic) during the summer months.”5 This makes sense, given that the “harsher” winter months are slower and more introspective, and summer is “rife with social activity.” Pettijohn and his team go so far as to argue that these findings could be combined with cognitive behavioural therapy to prevent Seasonal Affective Disorder symptoms. They note that even though listeners might be more likely to listen to reflective music in autumn and winter, these can actually reinforce feelings of isolation and depression, whereas listening to upbeat and high-energy music may help to boost one’s mood.6
Boardmasters 2021 – an example of the summer being ‘rife with social activity’
Some of the associations people have with certain songs are, of course, also connected to the marketing of the songs. As Jones notes, “we hear about the ‘Song of the Summer’, for instance. Then there are the music videos – what we see and how the artists are portrayed.”7 Inevitably, then, if an artist or band creates music videos in the place that they live, this will consolidate the associations of their music with that specific place.
Essentially, there are several reasons why certain music is associated with different environments, whether that be because it reflects a busy urban environment, is slower so more suited for the winter or more energetic and lively, therefore suited for the summer, or due to the marketing of the song. In short, I’m not crazy!
Parcels – The Sound of Australia?
As I mentioned at the beginning of this article, it was how I perceived Parcels as sounding very ‘Australian’ that took me down this route. Let’s see if there’s any hint of truth behind this idea! The band formed in high school in Byron Bay, where “the environment is so relaxed. The lifestyle is pretty incredible and we’re very privileged to be a part of that world.”8 In 2015, they moved to Berlin to pursue their musical career and caught the attention of the one and only Daft Punk at their first-ever gig in Paris! The French electronic music duo not only liked what they heard but invited the band to their recording studio, resulting in Parcels’ single, ‘Overnight.’ If you listen to this track, you will no doubt hear the influences of Daft Punk – the funky guitar riff, prominent bassline and electronic sound effects.
It is not only I who has described their sound in relation to the weather, particularly warm and summery weather, for example, Symth describes how
“they were developing a sound that was pure sunshine”
and that ‘Overnight’ “sounds like it should have come out in the summer of 1977.”9 Parthum notices how “the guitar is often used as an anchor for the songs, leaving the bass to glide with confidence across the soundscape of a neon lit roller rink on a hot summer night.”10
As mentioned above, it was found by Pettijohn et al. that energetic and rhythmic music is often preferred in the summer months, and these two adjectives summarise Parcels perfectly.11 Listen, for example, to ‘Tieduprightnow’ (the first song I head of their’s and what made me fall in love with them!), with its weaving bassline and heavy bass drum; ‘Yougotmefeeling’ which is snappy, catchy and buoyant; and even ‘Sorry,’ a slower and more melancholy track, has a cool groove with a syncopated beat and rhythmic guitar riff. Combined with their light, airy, radiant vocals in a high register, it is impossible not to want to dance along to their music, and it just makes me smile every time!
To strengthen even further this association with summer, and more specifically, Australia, the music video for ‘Tieduprightnow’ is set in Byron Bay and features everything ‘quintessentially’ Aussie, namely, “budgie smugglers, ‘roos, surfing, beach cricket, surf life savers, koalas, lamingtons and shenanigans,” as described by Pégard, who directed the video.12 She describes how when she listened to the track, “all I could picture was summer, the outdoors, surfing and Byron Bay.”13 I think it is safe to say that Parcels’ music is definitely well-suited for summer weather!
Other Aussie Artists
I won’t go into depth about them, but I have found that at least a couple of other Aussie artists have a similar energetic, rhythmic, upbeat and interestingly, electronic style to Parcels, specifically Tame Impala and Empire Of The Sun (the latter I shamefully didn’t even realise were from Australia until a few days ago!) I will leave it to the reader to make their own mind up about whether these artists sound ‘summery’! I would give ‘Let It Happen’ and ‘Borderline’ by Tame Impala a listen, and also ‘We Are The People’ and ‘Walking On A Dream’ by Empire Of The Sun. Let me know what you think!
Conclusion
I obviously recognise that there will be songwriters from Australia who write less energetic music and artists in the UK, for example, who will write very rhythmic and upbeat music. Similarly, everyone’s experiences of music are completely different, and it is possible to listen to ‘summery’ tracks during the winter or on grey and rainy days! I do find it interesting, however, that some of today’s most popular artists from Australia have produced such lively, danceable and ‘summery’ music. It seems to me that there must be some correlation, especially having visited Australia myself, during their summer at least, where people are outside all the time, by the sea, in nature, and being active and sociable. My natural inclination in such a setting is to listen to happy, upbeat and lively music, and I can imagine that (if I were anywhere near as good a songwriter) I’d also be inclined to write such music too!
As we make full headway into 2026, AI will undoubtedly be one of the biggest talking points and considerations for most industries, particularly the music industry. In 2023/24, in my undergraduate dissertation, I considered how the presence of AI would impact the music industry. Two years later, I wanted to check in on its progress. Here’s what I found:
WHAT I PREDICTED IN 2025
First of all, it was clear that AI had scope to improve rapidly – I saw evidence of this within just a few months. Comparing the uncanny debut music video of the first all-AI singer, Anna Indiana, with her most recent songs, it was clear how much the melodies and musical style had improved (she has now released an album, if you’re interested!).
Secondly, I predicted that AI used in transparent ways for creative purposes will generally sit more comfortably with people than those trying to mimic humans. As I found with Anna Indiana, there was something eerie about the lack of actual human involvement behind her. Uses for AI, such as the AI Song Contest, where participants experiment and collaborate with AI to create songs, explaining the creative process and the models they used throughout, are much less ambiguous and easier for people to wrap their heads around!
I ultimately reached the conclusion that musicians – and everyone, really – should not be afraid of AI. It’s not disappearing any time soon, I’m afraid! In fact, I do think that over time it will become less of a stigma; upon the invention of any new form of technology throughout history, there have been fears and scaremongering about the negative impact that it might have on humanity – whether justified or not – and yet nowadays we don’t think twice about using them in our daily lives, such as the computer, or devices that can play music. Also, as we will see, AI can be used for some really cool things! We should harness it the best we can, or at least be open-minded enough to explore it, so as not to be left behind.
WHERE IS AI NOW?
AI Artists
AI artists have been taken to a new level since Anna Indiana. There have been a flurry of AI artists appearing on the scene, including the R&B-style Xania Monet and the Country-style Breaking Rust, both of which made it onto various charts. Other AI-generated songs have also gained traction, such as ‘We Are Charlie Kirk’ by Spalexma, which reached number 1 on Spotify’s Viral 50 songs chart for the USA and globally, and ‘A Million Colors’ by Vinih Pray broke onto TikTok’s Viral 50 chart.
AI singer, Xania Monet
AI singer, Breaking Rust
Could this be the future of music? I’m not convinced. Rather than people’s actual fondness of the tracks, it is more likely the novelty, hype and debate surrounding AI that has attracted such attention to these songs. For instance, whilst I do not think these songs are bad as such, just knowing that they have not necessarily been created or performed by actual humans makes me feel slightly sceptical about them, whether subconsciously or not. In fact, a study by the global music streaming platform, Deezer (2025), showed that “66% of music streaming users say they would listen to 100% AI-generated music at least once, out of curiosity,” but that “45% of music streaming users would like to filter out 100% AI-generated music from their music streaming platform.”
Deezer has also flagged an issue; their AI detection software found that 50,000 AI songs are uploaded to the streaming platform daily, 34% of total uploads (ibid.). They also found that 97% of listeners in their study could not recognise if a track was AI. Not only does this highlight the importance of transparently labelling tracks, i.e. being clearly tagged as AI, but it also has major implications for the distribution of royalties, as we will see.
Legal Implications
One area which I didn’t cover in my dissertation, but which is a vast and complex issue, is the web of legal implications AI creates for the music industry, issues that are only going to multiply as AI gains even more traction. I can only hope to skim the surface here.
As touched on above, the influx of AI songs onto streaming platforms means new structures must be constructed to calculate royalties, such as including detection systems to determine which songs are AI-created, and to what extent. Otherwise, the risk stands that spam AI tracks posing as human artists eat into the royalties otherwise earned by human artists.
Another issue that has caused major legal disputes in the industry is how AI is trained. AI learns from existing material that it finds/is fed, and, unsurprisingly, not all artists are too happy with their music being used to train AI without their consent. This has recently led to the controversy surrounding the track ‘I RUN’ by HAVEN. Released in October 2025 by British producers Harrison Walker and Jacob Donaghue, it used AI-generated vocals. What caught people’s attention was that these vocals sounded like the popular British singer, Jorja Smith, so much so that the track was taken down from Spotify, TikTok and the Billboard charts over allegations of impersonation. The track has now been re-released with the human singer Kaitlin Aragon.
Whether or not the AI used was indeed trained on Smith’s vocals remains unknown, but it poses significant implications for the use of AI in tracks and the legal frameworks surrounding it. For example, major labels such as UMG and Warner have signed deals with the AI music generators Suno and Udio to prevent the use of stolen work, which the labels have already accused Suno and Udio of doing.
It is unclear how many more major changes to the legal landscape of the industry will be made in the coming years with the increasing prominence of AI, but it is clear that there will be many. It is evident to me that emphasis must be put on maintaining maximum fairness for human artists, including the distribution of fair royalties and requiring full consent before their music or vocals are used to train AI. I also believe that full transparency should be required in terms of how a song is created, i.e. to what extent AI has been used, so listeners have full awareness of the nature of the music they are listening to.
Used as a tool
Once it is established how AI can be used in a legal and fair way, it becomes apparent that its capabilities as a tool for musicians are vast and becoming increasingly advanced. Its ability to create new melodies and lyrics, for example, could be used as inspiration; various AI programmes such as LANDR and iZotope allow users to mix and master their tracks from their laptops; and album artwork could be generated using AI image generators. Ultimately, AI allows various aspects of creating and releasing music to be more accessible.
While this understandably leads to concerns over the replacement of human jobs, which is a very real possibility and is already beginning to occur, I believe the best way to stay afloat is to learn how to use AI to our benefit. The rate at which AI is progressing is unlikely to slow down, and so to put it bluntly, we must not get left behind!
A couple of artists in particular have demonstrated just some of the possibilities that AI affords, namely, Grimes, who has agreed to split 50% of the royalties with anyone who creates a successful track using her voice, promoting the “idea of open sourcing all art and killing copyright” (cited in Savage, 2023). Similarly, Holly Herndon created an AI model called Holly+, which allows users to create music using her voice.
There is also evidence that listeners still value genuine human experiences and emotions, something that AI might be able to mimic, but will never be able to feel for itself. I believe this will be a major drawback for AI music. Music is one of the most personal and subjective human phenomena, and to take away this wonderful aspect of the art form would greatly diminish its power. I would argue, therefore, that human-created music will continue to prevail, at least in the meantime. Olivia Dean’s explanation of the truth behind her lyrics summarises this perfectly:
When it comes to music, then, I believe that as long as fair legal frameworks are in place, AI can be used as a tool, but due to the fact that many people value genuine experiences and feelings feeding into the music they hear (which has been the case throughout history), there is no immediate risk that AI music will replace human music.
CONCLUSION
Comparing AI’s current position in and impact on the music industry with 2-3 years ago shows that its capabilities, as expected, have continued to improve, and it is gaining increasing traction, with songs by AI artists actually making it into the charts – Anna Indiana would be proud! However, there is still controversy around AI being used to sound like a human, as seen with ‘I Run’, and it seems that people still put great value on music being injected with genuine human experiences, something that AI simply cannot achieve. Hence, I do not believe that AI music will overtake human music any time soon. At least when it comes to music, then, I see no current risk in at least experimenting with AI and learning how to use it to our advantage, rather than being fearful of it. We must, however, ensure that it is used in a transparent and fair way, being mindful of its legal implications.
These are exciting times, and it will be fascinating to continue watching how AI will develop and how the industry will adapt!
Deezer (2025) Deezer/Ipsos survey: 97% of people can’t tell the difference between fully AI-generated and human made music – clear desire for transparency and fairness for artists.https://newsroom-deezer.com/2025/11/deezer-ipsos-survey-ai-music/ (Accessed 30 Jan 2026).
Tarren, a talented and exciting folk trio based in Bristol, comprises Sid Goldsmith on cittern and concertina, Alex Garden on fiddle and Danny Pedler on accordion. The group was formed following the sharing of compositions with each other over lockdown, and their repertoire, which mostly features originals, is rooted in English folk music. They have released two studio albums, both of which have received high acclaim. Bright Young Folk, for example, have described how their latest album, Outside Time, “conveys the joyful energy of their live performances and shows why Tarren are one of the most exciting names on the folk scene”.1 The Isle of Man was lucky to have Tarren visit on their Autumn tour around the UK, playing at the Laxey Working Men’s Institute on 24th October 2025. Before they went on stage, I was able to steal a few minutes with them for a quick chat. I was fascinated to learn about their perspectives on genre and how this feeds into their music, as well as the research they have undertaken into notions of gender in the folk tradition. I’m sure you will become as entranced by their music as I was – I must admit I have played them on repeat ever since!
Tarren at the Laxey Working Men’s Institute, Oct 2025. Photo: John Barker.
The concert was unforgettable, and the music was thoroughly gripping. With melodies that ranged from joyous, for example, ‘Claudia’s,’ to those with a melancholy undertone, such as ‘Super 8,’ all created a powerful atmosphere. The strong rhythmic pulse made it impossible not to tap your foot along, emphasised with moments of syncopation, changes in time signature and the occasional replacement of a beat with a rest, which was highly impactful. There was such intensity and life to the playing, which was infectious, and it is difficult to capture the raw emotion and power of the sound they created in words. They were note perfect, and the ensemble was so tight, which, with such intricate music, was impressive. There were many interweaving layers, constant variation in sound and style, and contrasting intensities – for example, suddenly dying away then building up again. The rich and full sound created from just three people was all-encompassing, with each instrument bringing its own unique texture and dimension, such as the heavy bass of the accordion and the intense and hoarse tone of the fiddle when Alex really dug into the strings; each player getting the most out of their instruments. They were engaging and natural with the audience, coming across as down-to-earth and funny, and they detailed the stories behind the songs, many being relatable and relevant to today, as well as tying to their own personal experiences – more on that soon. Overall, the concert was enjoyable in every aspect.
A unique component of Tarren’s music is their incorporation of classical elements; as they explained to me before the concert, they believe there can be a rub between folk and classical music. They highlighted how
they have not limited themselves to one genre, but make use of all of the tools available to them.
Therefore, they do not belong to one specific camp; hence, they call their style ‘New-Folk.’ They use classical techniques and features, for example, longer structural forms, but inject a folk ‘pulse.’ You can also hear minimalist influences, including repeating and overlapping patterns creating a polyphonic texture and mesmerising harmonies which slide deliciously from one chord to the next – listen out for some of these in ‘Dan-Y-Bont’ below.
I am also reminded of Baroque music, in the way that each line has its own distinct melody and in the clarity of the sound and harmonies.
As the trio poignantly highlighted,
you don’t have to get the form to get the music,
and they demonstrate this perfectly – at the end of the day, it is what resonates with listeners that is important, a sentiment that I fully support.
I believe this flexible mindset should be adopted broadly. The boundaries between musical genres are becoming increasingly blurred; think, for example, of the use of classical timbres such as strings in popular music, and I think this type of crossover should be encouraged more. For example, despite being inspired to play violin after hearing folk music when I was young – I was obsessed with Riverdance! – as a musician who has been classically trained, I have had little to no exposure to playing folk music or using folk methods, such as playing by ear or in an informal group setting, as is folk tradition. Tarren reminds us that there does not need to be a strict divide drawn between genres and that they can (and should!) have a more fluid relationship.
Gender in Folk Music
The trio have done valuable and enlightening research into themes of gender in folk music, and have compellingly adapted traditional songs to align with their own personal experiences and with today’s society. In an article about their research, Danny notes that there are many folk songs, particularly from the 17th and 18th centuries, about ‘warrior women,’ which tell stories of women who disguise themselves as men and subsequently encounter feats they would never ordinarily have faced as a woman, such as entering into battle or acting as highwaymen.2 At face value, these songs might appear as the progressive subversion of gender constraints, but as Danny acknowledges, it is unfortunately not the case. By accomplishing stereotypically ‘manly’ traits such as bravery and virtue, “the woman has excelled at being a man, not broadening what it means to be a woman.” Furthermore, the motivations for these fictional women were usually to follow after a man who had been conscripted, for example, and on their return, they land safely back in their domestic role to fulfil their womanly duties. These songs, in their outrageousness, were merely intended for entertainment, rather than transgressing gender boundaries.
Tarren takes such songs, however, and reinterprets them, using them as a way to broaden the traditional conceptions of gender. Their original composition, ‘Neither Maid nor Man,’ does this elegantly. As Danny notes,
“Folk music is a living tradition; it lives through reinterpretations and additions.”
Featuring re-written versions of ‘The Female Cabin Boy’ and ‘William Taylor,’ where both female and male gender expectations are subverted, the final verse reflects the journey of Tarren’s own Alex coming out as non-binary. It is a subtle yet highly impactful spin on a historical folk tradition, making it relevant to the 21st century and their own experiences.
Tarren are a highly talented trio whose unique interpretation of folk music is utterly captivating. By not confining themselves to a specific genre, they have opened up a range of musical possibilities, as well as reminding us that genre does not have to be so clear-cut. Also, sensitive to the sometimes exclusionary themes of traditional folk songs, they have brought awareness to this and have reinterpreted them to bring them up to date with today’s ever-changing culture and society. Music does not exist in a vacuum – there is no reason that genres cannot be blended, or that traditions cannot be altered to align with the current times.
Billie Eilish, a household name at just 23 years old, has been writing and producing music with her brother, Finneas, for 10 years now. They have rapidly risen to fame since ‘Ocean Eyes’ was released on Soundcloud in 2015, mesmerising listeners with their unique, often dark, musical style and Billie’s delicate yet powerful vocals. Their latest album, HIT ME HARD AND SOFT, released in May 2024, is undoubtedly my favourite of theirs so far. It is varied and emotive, with catchy melodies and beautiful music. I believe there are factors beyond the music that draw so many people to Billie, however, namely, her appearance as a genuine, relatable and authentic individual, rather than an untouchable celebrity.
The siblings have seen great success so far, and their latest album has not let them down. Over their musical career, they have won a dazzling array of accolades, including nine Grammy Awards, four Brit Awards, two Golden Globe Awards and many more, and Billie is the first person born in the 21st Century to win an Academy Award, an incredible achievement. Her voice has been called “ethereal” (Stone, 2017) with a “beautiful and fragile timbre” (Pentreath, 2024), and several have argued that HIT ME HARD AND SOFT is her “best album yet” (Martoccio, 2024). Brown (2024) calls it “a record that whispers its way through a marvellous maze of music to deliver some big emotional wallops.”
I have to admit I played this album on repeat when it first came out! It is sensitive, heartfelt and bold, weaving through a variety of moods, from the flirty and provocative ‘LUNCH’, to the delicate and restrained ‘WILDFLOWER’.
Some other stand-out moments for me are the cheeky and sarcastic first half of ‘L’AMOUR DE MA VIE’, with its catchy melody and Billie’s effortless and perfectly satisfying vocal runs, and ‘CHIHIRO’, a song with many layers, building from controlled intensity to unleashed desperation. This track is particularly addictive, with its cool, atmospheric bassline (a feature which Finneas has mastered throughout this album and is one of my favourite elements – you can’t beat a catchy, prominent bassline in my opinion!) and the way the beat occasionally cuts out adds tension and drama.
The final track, ‘BLUE’, ties together the whole album by subtly linking back to previous songs in the album. For example, its melody is introduced at the end of the previous song, ‘BITTERSUITE’, which the line ‘I’m still overseas’ also references; ‘I thought we were the same / Birds of a feather’ is an echo of the track ‘BIRDS OF A FEATHER’; and ‘I told you a lie, désolé, mon amour’ hints at ‘L’AMOUR DE MA VIE’. I like the sense of coherence this creates in the album – it makes it seem like a journey through a labyrinth of emotions, culminating in this final track.
Finneas’ masterful production helps make this array of emotions come alive, with music that conveys the meaning of the lyrics, such as the flirty bassline accompanying the mischievous lyrics in ‘LUNCH’, or the dramatic strings and drum crashes in the climax of ‘THE GREATEST’, intensifying the feeling of desperation and anger.
Some critics have been slightly less complimentary, however. For example, Fantano (2024) describes it as “safer” and “taking less risks than her previous albums”, and Jocelyn (2024) claims that “the insistence on multipart epics and ballads kills the momentum.”
Whilst I don’t necessarily agree with these specific points, I do believe there are some slightly weaker moments in the album. For example, despite it being an incredibly successful single (reaching number two on the Billboard Hot 100, being the most streamed song on Spotify in 2024 and receiving three Grammy nominations in 2025), I don’t think ‘BIRDS OF A FEATHER’ has quite the same depth, complexity or emotional range as some of the others, and although it has a sweet melody, it doesn’t draw me in as much.
Furthermore, the first half of ‘L’AMOUR DE MA VIE’ is catchy and understated, but the second half, which switches style completely, featuring blaring synths, an electronic drum beat and heavily auto-tuned vocals, doesn’t add much to the song in my opinion. The contrast is unexpected and I like that they have experimented with structure and style, however, I think the first half would have been a great song as it was. Regardless, the album as a whole is varied and has many great tracks, and the success Billie and Finneas have seen so far must count for something!
In fact, I wanted to explore more deeply why audiences have connected with Billie and her music to such an extent. It seems that her apparent honesty and authenticity are a big factor. As Billie explained in an interview with Fadel and Harrell for NPR (2024) that,
“for [HIT ME HARD AND SOFT], I finally got over the need to prove everyone wrong… it was about expressing myself,”
and that “you should just be as vulnerable as you can without thinking about how people are going to hear it, and then go from there.” In a similar vein, Finneas told Codinha for Vogue (2024), “the thing that was really important to me was really pushing Billie to be honest.”
I think they have succeeded. Listening to the album, it doesn’t feel like they are trying to be something they’re not – it sounds like they simply sat down together and experimented with Billie’s vocals and different instruments. As Finneas told Martoccio (2024),
“This album was an exploration of what we do best.”
They have tackled some deeply personal and sensitive topics in the album, too, such as ‘SKINNY’, where Billie gently sings, ‘People say I look happy / Just because I got skinny’ (more on the pressure she has faced for her body image later); the disconcerting ‘THE DINER’, where she sings from the point of view of a stalker – particularly eery as Billie herself has been on the receiving end; and the heartfelt and emotional tone in her voice in ‘BLUE’ when she sings ‘I’d like to mean it when I say I’m over you / But that’s still not true’. Millar (2025) notes, “Her music mirrors the struggles of her generation: mental health, identity, and the pressures of growing up in a digital age,” and this transparency is what has drawn so many fans to the artist, making her a very relatable figure.
Hit Me Hard and Soft Tour, Manchester 2025
Similarly, when I was lucky enough to see Billie perform live in Manchester in July (I am still dreaming back to that night!) I got the impression that I was watching a down-to-earth human, rather than an “untouchable celebrity” (Millar, 2025). It wasn’t pretentious: there were minimal special effects on the stage and Billie captured the audience purely with her mesmerising voice and masterful stage presence, and she genuinely appeared to be having fun, which was contagious! This comes across in interviews, too; she doesn’t seem to be trying to impress anyone, she is just being herself, and this is so nice to see in an artist.
That Billie seems to have stayed true to herself amidst the pressures of fame, particularly at such a young age, is truly inspiring – she is only a year older than me, and I can’t even comprehend being in her position! As she has recounted in many interviews, however, it was by no means easy, and I can’t help feeling for her. She explained to Fadel and Harrell (2024) that,
“It was a lot, and it still is a lot. Every day I struggle with figuring myself out. Instead of just getting to feel how it feels to learn something about myself, I have to hear about what everyone else thinks about it.”
Especially with today’s ubiquitous and often suffocating presence of social media, Billie has struggled with the fact that “the world can see every aspect of your life and reminisce about [it]. It’s so weird” (interview with Lancaster, 2021). She has sadly suffered from depression in the midst of her fame, telling Gayle King in 2020 that “I was so unhappy last year… I was so joyless,” and that “I genuinely didn’t think I would make it to 17” (cited in Wong, 2020).
The scrutiny that Billie faces is the reason that she has concealed her body in baggy clothing (still looking incredibly cool whilst doing it!) for lots of her career. She is acutely aware of how her body could be used as a source of judgement like it unfortunately is for so many men and women in the public eye. Celebrities, particularly women, are increasingly sexualised – whether this is a message of empowerment or pressure from labels to boost sales is a debate for another time.
Even in baggy clothing, Billie hasn’t escaped scrutiny for her appearance. As she stated in the voiceover to her short film, NOT MY RESPONSIBILITY, shown at her 2020 world tour, “Some people hate what I wear / Some people praise it / Some people use it to shame others / Some people use it to shame me.” As Fitzgerald (2021) highlights, this is a wider societal issue: “The media bombards us with the message that happiness, self-esteem, and a positive image of ourselves is a reward for having ideal bodies.” Billie responds, saying, “Let’s turn it around and be empowered in that… Showing your body and showing your skin — or not — should not take any respect away from you” (cited, ibid.). This is a powerful message that she is sending, making it no surprise that she has been called “a force, a positive influence to a generation raised on social media” (Pippa Haupt, cited, ibid.). Her resilience and honesty must truly be applauded, and it inspires me, as I’m sure it does many others.
A highly talented artist and dynamic personality, Billie is an inspiring role model, particularly for young girls, for her rejection and resistance against what the public eye and, on a more relatable level, society, expects of her. She also serves as an important reminder that celebrities are merely human, and as audiences, fans or critics, we should perhaps treat them more gently and not expect quite so much from them all the time.
On the 15th August 2025, I met with OK Computer, a Radiohead cover band from the Isle of Man. They were setting up for one of the last rehearsals before their concert on the 22nd. One by one, the six members trickled in, carrying their many instruments into the relatively small studio while I picked their brains. I learned about their favourite songs to play, those they find most challenging, and gained insights into what it is like to cover one of the most renowned, prolific and varied bands of the 21st century. The gig the following week was top-notch and the audience of dedicated Radiohead fans loved it – it has been fascinating to delve into why Radiohead has such a draw for so many listeners.
First playing gigs in 2018, OK Computer was formed when Dave Brew, lead singer (‘Thom Yorke’), was tired of being rejected when he suggested to his other bands that they play Radiohead. He reached out to other musicians that he thought might be interested and pretty instantly had a group formed. They have since played many gigs around the Island, featuring a mix of Radiohead songs from various albums, once playing through the full OK Computer album, and have steadily amassed a strong and dedicated following.
With the opportunity to speak to the members, I wanted to gain some insight into the inner workings of the band, such as how they decide which songs to play. Unsurprisingly, owing to Radiohead’s vast output, they said choosing what to play requires about 20% compromise; even their band name was chosen via a referendum. There are certain songs that they have found particularly tricky to learn, including ‘2+2=5’ and ‘Pyramid Song’, due to their unusual metres, ‘The Tourist’, because of how slow it is and therefore difficult to stay in time, but they highlighted that it varies for each instrument. They have also picked up on which songs are the most popular amongst audiences, such as ‘Fake Plastic Trees’, ‘Bodysnatchers’, ‘Let Down’ and ‘Creep’. At the gig, I too noticed that ‘Karma Police’ and ‘Street Spirit (Fade Out)’ were particularly well-received, really engaging the crowd. My personal favourites were ‘Myxomatosis’ and ‘Paranoid Android’; the atmosphere they created was electric.
OK Computer at the Villa Marina, August 2025
The band learn the songs from live versions rather than studio ones; these would be impossible to replicate. You could therefore pick up on certain features that aren’t present in the studio recordings, for example, I especially enjoyed the extra syncopated bass idea in ‘Myxomatosis’.
Radiohead are notorious for being ‘depressing’, and I was curious as to whether playing so much of their music can get heavy. But no, they said,
“they’re too hard to play to be depressed!“
Even the ‘sad’ ones, such as ‘Let Down’, they acknowledged, are actually uplifting and often build. They captured this excellently in the gig, for example, the increase in intensity in ‘How to Disappear Completely’ was very impactful and really stood out to me.
At the gig, I was impressed by the sound they produced and the quality of their playing. They are superbly talented – the songs were played flawlessly and were so tight and well-rehearsed; every member knew exactly what they were doing. With Radiohead, this is crucial – with many layers, changing time signatures and unusual instruments/techniques used, their songs are complex and unpredictable. Demonstrating their versatility, the band members often switched instruments and added new instruments for certain songs, such as a drum machine for ‘Idioteque’, and their stamina is admirable – three straight hours of Radiohead must take some concentration, to say the least! They really captured the essence of Radiohead – from the clips of radio played between songs, to the pre-programmed keyboard sounds, to the tone of the guitars – and the audience loved it. People were dancing and singing the whole way through – there was even a mosh pit towards the end!
The band has had a great turnout since the beginning, with audiences spanning generations, from as young as teens. I wondered what it is about Radiohead that has made them so popular for so long and attract such a wide variety of listeners. Asking OK Computer what they thought, they suggested it might be because Radiohead are constantly evolving – each album is unique, with something for (nearly!) everyone, and they blur boundaries, making it difficult to assign them to a single genre – OK Computer couldn’t even decide between themselves. Another point they raised is that
“Radiohead haven’t sold out to record companies.”
For example, in their rebellion against the dominance and hegemony of major record labels and the imbalanced distribution of funds, meaning artists themselves profit marginally from singles and album sales, their 2007 album In Rainbows (my favourite album, as well as Dave’s) was self-released as a download. With no set price, fans were able to choose how much they paid for the album, which could be as little as nothing (plus an administration fee of 45p). This departure from conventions and widely accepted structures is part of the reason they are such a unique band. They experiment with their music; for example, OK Computer described them as using their instruments like toys. I love this idea – it captures how, like children, they are unconfined by traditional methods and sounds, resulting in much more creative results. It also has a lot to say about what people value in music: authenticity, personality and creativity.
OK Computer is a fantastic tribute to Radiohead, with a deep understanding and genuine appreciation of the band and their music. Individually, they are very talented, and they blend seamlessly into a band together. If you are a Radiohead fan on the Island, I would thoroughly recommend you catch them at one of their next concerts!
An inspiring Italian duo bring the acoustic blues to the Isle of Man
On 12th July 2025, I attended a concert by Veronica Sbergia and Max De Bernardi at the Laxey Working Men’s Institute on the Isle of Man. An Italian acoustic blues duo, Max and Veronica have performed globally with their quirky, charming sets which feature a variety of country blues, ragtime, and vaudeville songs. Extremely talented musicians, they expertly play a range of instruments from the mandolin to the washboard, and through their singing, they evoke great emotion and energy. They won the European Blues Challenge in 2013 with The Red Wine Serenaders, represented Italy in the International Blues Challenge in 2015 and have recorded several albums, with more to come. In addition to watching Max and Veronica perform, I had the privilege of meeting them beforehand and chatting with them about their lives and music, which was fascinating and highly insightful. This article will review the concert and explore some of the areas we spoke about, including their genuine passion for music and how important they believe this to be; their desire for the acoustic blues to reach a wider and younger audience; and the prejudices they have faced due to their position as Italians playing American music, an intriguing issue which I will delve into more deeply.
Concert review
The pair were a joy to watch. Their skill and infectious enthusiasm made it a truly memorable evening. Veronica’s voice is strikingly powerful and has a gorgeous, rich tone which perfectly suits the genre. Max’s incredible skill on the guitar and mandolin is mesmerising, and this, combined with his characterful vocals harmonising with Veronica’s and her unique washboard and kazoo playing, made a thrilling sonic and visual experience. To enhance the music, they told the audience about some of the history behind the songs and the stories that are told through them, which gave us a greater understanding of the music and painted vivid imagery to go along with it. The duo also interacted with the audience by encouraging us to clap and sing along, to get maximum enjoyment and appreciation from the music. From their impressive talent to the journey they took us on through the music, it was a delightful performance to watch.
Max and Veronica performing at the Laxey Working Men’s Institute on the Isle of Man, July 2025.
Concert review
Max and Veronica originally met when Max was invited to play at the music nights run by Veronica in a bookstore. Some time afterwards, they reconnected and explored the possibility of performing together, for Veronica to sing with the other musicians Max played with. Over time, they played together more and more often until it became “like a routine.” Eventually, Veronica decided to create her own record with the help of Max, and this is what they referred to as the “beginning of everything.” The record garnered interest from a promoter in France, a moment that made them realise that
“maybe it’s possible to work with this thing and to make something out of it.”
Their achievement of winning the European Blues Challenge as a trio also helped them greatly, giving them wider recognition and allowing them to meet their agent, who booked concerts for them outside of Italy.
The musicians stood out by the fact that in Italy, “this type of music was not very popular” and they are “proud” of the fact that at festivals, they are frequently told that they are the only Italian artists that have played there. In fact, without claiming to be the pioneers, they noticed that more people turned to the acoustic blues in Italy, especially with a combination of guitar, washboard and other unusual instruments, after their project gained traction and they started playing abroad. They feel very “lucky” to be able to travel and play with the music they love, and are aware of the many “incredible and very talented” musicians in Italy who don’t have the chance to play abroad, as they don’t have anyone to book concerts for them outside of the country. They also highlight that the acoustic blues is sadly not very popular amongst the younger generations and are keen to raise awareness of the genre, believing that it would still have a lot of meaning to young people too. Having heard them play, I agree that more awareness should be brought to the duo, as they are incredibly talented, inspiring, and a joy to watch, but also to the genre; it has some captivating music with lyrics that tell engaging stories.
With such an incredible career behind them, I asked them if they had any advice for aspiring musicians. They recommended to “go deep deep down and find a way to express the music, find their own language.” Also, to “be different from the others, find their own spirit in music and trust in it – even when there is nothing to trust about.” Veronica says that the best piece of advice she has been given is to
“stay honest and humble, to never change who I am on stage, and to be as natural as I am in real life.”
She recognises that “authenticity is what people connect with the most.” Especially if you are young, they urged, “Do it with all your effort and all your passion – you have time later to think about.” Max and Veronica’s journey is inspirational and has lots that aspiring musicians can take away from it, including the importance of finding your own unique path, having unwavering belief in what you are doing, and never giving up.
Cultural appropriation
The duo have faced barriers being Italian musicians playing the music they do. As Veronica explained, there is some “stigma” around it, and some people are
“suspicious about two Italians playing American music,”
believing they “aren’t entitled” to it. They explained how promoters tend to be reluctant to book them until they have someone directly confirm to them that they are worthy. Therefore, while they acknowledge that “it is good to be Italian because it is different,” the flip side is that “we really have to work harder.” After hearing this, I decided to delve into what the reasoning behind this might be, and whether it is a wider issue. It seems that concerns surrounding the cultural appropriation of blues music extend beyond Max and Veronica and go back decades.
White performers have been called out for culturally appropriating the blues when its history rooted in black culture and the struggles that were faced in the 19th century are not acknowledged. As Handy wrote in his 1941 autobiography, Father of the Blues, “its 12-bar, bent-note melody is the anthem of a race, bonding itself together with cries of shared self victimization.” This is not to say that white artists cannot perform blues songs, however. As several authors acknowledge, it can be done respectfully, for example, Aburrow says to learn about the culture and history of the music being performed, and Hatua-Saar White encourages artists to “acknowledge the origins of where your inspiration is derived from.”1 Max and Veronica certainly do this; they have immersed themselves in and have a deep appreciation and respect for the music they play, and they provide ample acknowledgement to its history during their live performances and in the information about their albums. For example, Veronica’s album Bawdy Black Pearls explicitly brings recognition to the “fierce and fearless blueswomen of the 1920s and ’30s,” explaining that “these women sang openly about desire, pleasure, and personal freedom, challenging the social norms of their time with wit and courage.” It is therefore unjustifiable for Max and Veronica to face prejudice for playing blues music.
Conclusion
Excellent performers and fascinating people to talk to, Max and Veronica are admirable role models for aspiring musicians. They are not afraid to stand out and never give up, even when met with obstacles. I am grateful to them for introducing me to the acoustic blues and for encouraging me to investigate why there are sometimes negative reactions against musicians from one culture playing music from another culture, and how complex a topic it is. I encourage readers to explore Max and Veronica for themselves and to keep an ear out for their new gospel album coming out in November. Joined by Mauro Ferrarese and Simone Scifoni, “it’s a raw and heartfelt record – very much in line with who we are – and features a handful of lesser-known traditional songs recorded live in the studio”. It is their first album dedicated to gospel music, which they are “extremely proud of.”
Benson Boone is a 23-year-old American singer-songwriter who rose to fame in 2024 from his viral song, ‘Beautiful Things’ and is known for his flamboyant on-stage backflips. After pulling out of the talent show American Idol in 2021, Boone gained traction on TikTok and now has over 9 million followers, released two studio albums, and later this year will undertake his world tour, already having performed at the GRAMMYs, Coachella and Saturday Night Live, to name a few. What piqued my interest in this album were the mixed reviews it has so far received: Rolling Stone and NME have both rated it 2 out of 5 stars, for example.1 After the success Boone has seen up to this point, I wanted to investigate for myself why this doesn’t seem to have continued. What this ultimately led me to was the implications of TikTok and the way that the streaming platform has impacted the music industry, with the effect of potentially bringing artists rapid and intense fame before they are due/ready for it.
The songs are promising but feel like they’re missing something or are not quite there yet. Often I am hooked by the verse, but then left slightly underwhelmed with the chorus. For example, ‘Man In Me’ begins with a funky beat and unusual dissonant “la’s”, but the chorus is not as catchy or snappy. Similarly, the groovy verse of ‘Mystical Magical’ is let down by the chorus which is repetitive and with interpolations of ‘Physical’ (1981) by Olivia Newton-John, is slightly unimaginative. The pattern continues with ‘Reminds Me Of You’, which begins with a dreamy atmosphere but leads into a simplistic chorus.
Furthermore, the structure is sometimes unclear, such as ‘Sorry I’m Here For Someone Else’, which feels cut short by a new tune at the end which seems a bit random and sounds as if it should be a bridge (the song is only 2:36 minutes). ‘Mr Electric Blue’ also has a sudden calmer moment after the first chorus which for the listener is unclear as to whether it is a bridge or transition section. This returns after the second chorus and instead of the song carrying on as might be expected, it abruptly ends. This also happens in ‘Wanted Man’, in which after just two choruses we are met with a bridge-sounding section which builds in tension as if it is leading into something else; instead, it reaches a dead end and the song finishes. These songs have potential, but there are still lots of areas to improve.
Boone doesn’t seem to have found his own voice yet, and I wonder if he’s trying to be something he’s not. ‘Reminds Me Of You’ is remarkably similar to ‘deja vu’ and the bridge of ‘drivers license’ by Olivia Rodrigo; the melody, beat, and style of the lyrics are very similar. ‘I Wanna Be The One You Call’ is one of the tracks I prefer on the album, but ironically, it reminds me of songs I already like, namely, the beat and muffled harmonies of ‘As It Was’ by Harry Styles and ‘Stuck With Me’ by the Neighbourhood. The lyrics are also quite basic and simple. For example, “you can feel like / Moonbeam ice cream, taking off your blue jeans / Dancing at the movies, ‘cause it feels so Mystical, Magical” in ‘Mystical Magical’ lacks depth and doesn’t make much sense. One positive is that the songs are varied, with differing styles and instrumentation, however, I’m not sure what’s connecting them. There is not much coherence as an album, with no common themes or messages. There are some promising moments, however; as I noted above, I like many of the verses (just not the choruses), and I rate ‘Young American Heart’, which has an upbeat chorus and lively piano and guitar parts; the poignant and sweet homage to his mother, ‘Momma Song’; and ‘Mr Electric Blue’ has a catchy melody. Generally, though, the album lacks some originality.
The TikTok Effect
The album raises issues concerning TikTok stardom. Like many recent artists, Boone rose to fame on the social media platform. It was through his videos that he caught the attention of Dan Reynolds, frontman of Imagine Dragons, who signed Boone to his record label, Night Street Records, and as of February 2024, ‘Beautiful Things’ had been used in over 4 million videos and he has millions of followers.2 Whilst TikTok has given artists a highly accessible platform for their music to gain (sometimes considerable) recognition, (Mitski, for example, went from playing to 2,000 people in 2018 to 20,000 in 2024 after several of her songs went viral on TikTok), what it leaves me wondering is whether this rapid rise to fame is short-lived, or can it be sustained?3 There is evidence that the former might be true. For example, in 2022 singer-songwriter Steve Lacy complained that fans at his shows were only there to film a short section of his song ‘Bad Habit’ which went viral on TikTok; similarly, Joshua Bassett has amassed 3 million followers on the platform, yet struggled to sell tickets for his tour in 2024, reportedly resorting to giving out free tickets to fill seats.4 D’Souza also raises the concern that so many songs go viral on TikTok each day, it becomes increasingly difficult and unlikely for such songs to break through beyond the app.5
Boone’s ‘Beautiful Things’ was a megahit, arguably made as ubiquitous and well-known as it is by TikTok. Having listened to his new album, I wonder whether I would even be reviewing it otherwise. This raises the question of whether these artists deserve such fame; it seems arbitrary compared to others who are equally (if not more) talented and have worked their whole lives for it. As Dahan notes, “A lot of it is out of the artist’s control, and it comes down to how people are going to interpret the work and use it and if any of that happens to pop. There’s a lot of randomness.”6 Is being popular in music more a question of playing the system than talent? Whilst this has always been an inevitable aspect of the music industry (if you want to be big, you must appeal to popular taste) TikTok seems to have brought this to new heights, and accentuates just how unpredictable it can be.
Boone shows much potential with this album; there are some catchy moments and he has a great voice, however, there is still some work to be done. What strikes me is that someone who has performed at the GRAMMYs and gained so much attention can produce an album which has such a long way to go, and the obvious reason for this is the effect of TikTok. The platform can propel artists to fame in an instant if their song happens to go viral, yet without having established a secure fanbase over years of releasing music and cultivating their talent, this fame can be hard to sustain. TikTok has certainly created new considerations for artists and music industry professionals and has changed the way the industry works.
Bastille rose to fame with their single ‘Pompeii’, which was released in 2013 and reached number two on the UK Official Chart. Since their moody and dark first album All This Bad Blood, released the same year, Bastille has explored a variety of styles, including the more upbeat Wild World (released in 2016), the concept album Doom Days (released in 2019), and the futuristic and electronic Give Me the Future (released in 2022). “&” (Ampersand), released at the end of 2024, is a solo project of Dan Smith, lead singer and songwriter, released under the Bastille name. It is one of their most stripped-back and raw albums yet, and is unique in its inclusion of “story songs”, as Smith calls them, describing “people who I think are fascinating, and whose lives really spoke to me”.1 There is much to unpack in this album, from the lyrics to the accompanying music, and interestingly, to me, it is the most similar yet to their original style in All This Bad Blood, which is what made me fall in love with their music in the first place. Having said that, although having been a slight (major!) Bastille fan since about 2013, I endeavour to be objective when reviewing this album.
As an album, “&” creates a calm and tranquil atmosphere. This is achieved with the use of pensive and melancholic strings (a bonus for me, as a string player!), for example in ‘Leonard & Marianne’, ‘Essie & Paul’ and ‘Red Wine & Wilde’ to name a few, combined with Smith’s gentle and often subdued vocals accompanied with haunting backing harmonies. Soothing instrumentation accompanies the strings, including piano, for example in ‘Telegraph Road 1977 & 2024’; simple yet effective acoustic guitar, such as in ‘Seasons & Narcissus’; and moments where all instruments drop out to leave choir-like vocals, like ‘Drawbridge & The Baroness’. Often, instead of a prominent drum/bass beat which could risk interrupting the serene atmosphere, a more subtle pulse is formed using gentler timbres, such as strings, acoustic guitar, or a nonintrusive drum part such as in ‘Mademoiselle & The Nunnery Blaze’ (which, being in a triple metre and using a snare, is a lot like ‘Flaws’ from their first album). This is something the band has mastered from the beginning and helps make their songs unique: they have always experimented with different timbres, instruments and beats, often also including electronic instruments. Their versatility and constant exploration of new sounds and styles from song to song and album to album make them stand out as a band. Turning back to “&”, the peaceful atmosphere (which distinguishes it from their previous albums, which have tended to be more upbeat and lively) reflects Smith’s writing process. As he explains, “I wrote these songs at my kitchen table so they needed to sound homemade and intimate and warm.”2 Whilst the gentle nature of this album is lovely, I would say that it might not be entirely versatile in different settings, however, as a very particular mood is created.
Lyrics
One of the most intriguing aspects of the album is the clever, poignant and thought-provoking lyrics, through which Smith’s background in literature shines. With the use of metaphors and hidden meanings, for example, “So echo back my promises” in ‘Red Wine & Wilde’, the meaning is not necessarily clear on the first listen, drawing the listener in to interpret their significance. As Smith explains in the lyrics of ‘Intros & Narrators’, the first track, the album recounts “other stories” which are “more interesting” to him; “So much bigger, boldеr, braver than I’ll ever be”. That each song delves into and depicts the experiences and events of peoples’ lives makes them all the more captivating, for example, in ‘Zheng Yi Sao & Questions For Her’, the listener is invited to learn and think about the woman the track is about. The lyrics also offer philosophical musings and commentaries on society and our relationships with the world, such as the eloquent observation that “We can get so cruel when we don’t understand” in ‘Marie & Polonium’, highlighting how ignorance can cause us to act in immoral ways, and the line, “Is this real love? I think it is, do you think it is?” in ‘Seasons & Narcissus’, commenting on the enigma that is love, about how confusing yet wonderful it can be. Furthermore, the line, “Would I be who I am without the sadness in me?” in ‘Blue Sky & The Painter’ is the heartfelt realisation that sadness might simply be ingrained into the narrator’s being, something that they can never escape. These compelling lyrics add thoughtfulness and sensitivity to the otherwise beautiful melodies that they interweave with.
Classic Bastille style
Despite “&” being a solo project of Smith’s, there are several moments in the album which strike me as being very characteristic of Bastille’s sound. These include rich and resonant harmonies, such as the lovely chorus of ‘Emily & Her Penthouse in the Sky’; the deep and atmospheric opening of ‘The Soprano & Midnight Wonderings’; and the la’s at the beginning of ‘Mademoiselle & The Nunnery Blaze’, characterised by the unexpected B♮ which is the leading tone of the song’s key, C minor, and gives the melodic line a darker and more interesting colour. These remind me of the harmonies that flowed through the first album, for example, in the introductions of ‘Icarus’ and ‘Haunt – Demo’. Bastille are also masters at creating extremely striking, intimate and powerful moments where the listener is met with a wash of acapella harmonies, like the beginning of ‘Drawbridge & The Baroness’, one of my favourites on the album. Immediately capturing your attention, the lack of accompanying instruments and the richness of the vocal layers give the feeling of time standing still. This again reminds me of their first album, particularly songs such as ‘Get Home’, which similarly opens with intimate acapella harmonies, and the bridge of ‘Skulls’, in which Smith’s powerful voice mixes with resonant vocal harmonies, accompanied only by sparse electronic drum beats. To me, this is one of the most wonderful and arresting aspects of Bastille songs.
The beautiful instrumentation in “&” is also often reminiscent of All This Bad Blood, such as the mesmerising and daydream-like piano arpeggios in a high register in ‘Drawbridge & The Baroness’, reminding me of the bridge in ‘Get Home’. Similarly, the prevalence of string accompaniments throughout the album was also present in the first; see ‘Oblivion’, or ‘Things We Lost In The Fire’, for example. I love that the band’s older style seeps through, as it is so unique and characteristic of them. However, new elements and styles are also incorporated into this album which they haven’t perhaps explored as much previously, for example, the more rock-esque electric guitar in ‘Drawbridge & The Baroness’ and ‘Blue Sky & The Painter’ and the folky character of some songs, such as the simple acoustic guitar in ‘Red Wine & Wilde’ and ‘Seasons & Narcissus’. This convergence of their older style with unfamiliar sounds further proves their adaptability and desire to evolve and be creative as a band, a quality that is arguably crucial for an artist to remain fresh and avoid becoming stagnant in their style.
Talent
The power and quality of Smith’s voice are outstanding in “&”, made even more prominent by the stripped-back instrumentation. Some particularly striking moments for me include ‘Leonard & Marianne’, where his vocals gradually swell in volume and intensity, and his entrancing falsetto in ‘Drawbridge & The Baroness’ and the end of ‘Zhen Yi Sao & Questions For Her’. As well as Smith’s masterful vocals, the accompanying music is beautiful, with a gorgeous combination of instruments wonderfully arranged, sometimes even verging on classical. The strings, as already mentioned, add emotion and depth, and the glissandos in ‘Zhen Yi Sao & Questions For Her’ create an almost cinematic effect. Similarly, in the likes of ‘Telegraph Road 1977 & 2024’ and ‘The Soprano & Midnight Wonderings’, the gentle and peaceful piano creates a lovely accompaniment, contrasting with often unexpected moments of electric guitar, for example in ‘Blue Sky & The Painter’ and ‘Drawbridge & The Baroness’, as mentioned above. Overall, they are very well-written songs with balance, variation and clever interplay between the vocals and instrumentation, demonstrating Smith’s skill as a songwriter and the musical talent of the band.
Conclusion
“&” is an album of very high quality, from the lyric writing, to the arrangements, to the standard of the vocals and instrumental performance. It is unique in the way that it tells stories about people and moments in history, and yet is very characteristic of Bastille, combining some of their familiar older features with new elements. The album sets a calming mood and atmosphere, and as Dan reflected, “For me it’s been the most brilliant, fun and chilled process – while also trying to do justice to the lives of these amazing people,” and this shows.3 Dan is a masterful songwriter and Bastille is an excellent band, and my love for them has not wavered! They are unique, thoughtful, and talented musicians.
Sam Fender’s popularity as an artist has steadily increased since he first released music in 2017, culminating in his most recent album, People Watching. Fender has been nominated for and won many awards, and having been a big fan for several years I am excited to review his latest album, People Watching. His style and unique sound have fully developed in this album and his powerful lyrics shine through as usual. Although some moments in the album are not as striking to me, overall it is well-crafted and has some great tracks.
Fender has a unique sound which has weaved its way through all his albums but flourishes in People Watching. This includes his catchy and clever guitar work. Most songs in the album feature guitars prominently, some with intricate overlapping layers, like ‘Wild Long Lie’, and others with a folky style, including ‘Rein Me In’ and ‘Something Heavy’. As well as being a prominent aspect of his style, it makes the songs where it isn’t present stand out more, such as ‘TV Dinner’ and ‘Remember My Name’, which instead more prominently use instruments like piano, strings and brass, proving his versatility as a songwriter. Often commonly featured is also an introduction with a steady beat alongside often catchy rhythmic guitars. Some songs that feature this, for example, are ‘People Watching’, ‘Wild Long Lie’ and ‘Crumbling Empire’. Again, contrast is created when this characteristic sound isn’t present. Another unique mark of Fender’s style is the use of a saxophone solo in the bridge or at the end of a song, such as in ‘People Watching’, ‘Wild Long Lie’ and ‘Rein Me In’, which tends to lift the songs and add an extra layer of detail and interest. The distinctive sound that Fender has developed differs slightly from his earlier releases, which often had a darker and more moody atmosphere. Take ‘Poundshop Kardashians’, ‘Dead Boys’ and ‘Play God’, for example, which are striking for their intensity and grit. Whilst I loved this earlier sound of his, it is only natural for his style to have evolved and it is still distinctive and enticing.
One element that has always been present in Fender’s work is his ability to write powerful lyrics. They are invariably meaningful and poignant, some examples including “These streets break my heart” in ‘Nostalgia’s Lie’, a sorrowful line juxtaposed with the more cheery melody that accompanies it, and “Do you have to know me / Know me inside out / To have a good time?” in ‘Arm’s Length’, an expression of the feeling of reluctance to give too much of oneself away to someone else. Another example is the line “Everybody here’s got something heavy” in ‘Something Heavy’, an acknowledgement of the struggles that everyone around him is also going through. Fender’s thoughtful lyrics with observations about society and human relationships follow on from the likes of Bruce Springsteen and Bob Dylan who, in Fender’s words, “all had something to say.”1 Towards the beginning of his career, he described how “I write from the perspective of an early 20s kid who is trying to grasp an idea of what the hell is going on. I’m asking questions that most people are asking, but just putting a melody or a song to it.”2 As a result, he produces down-to-earth and raw lyrics, such as, “I’ve gone quiet ‘cause my heart / Is still choking up from a love I tore apart” in ‘Wild Long Lie’ and his sensitive observation about the hardships of life that “Sometimes it’s healthier to wallow in it” in ‘Chin Up’. His honesty and humility are also striking beyond the music and further add to the impact of his lyrics: in the context of being compared to Bruce Springsteen, he remarks, “The comparisons are just stupid, he is one of the greatest songwriters ever… I’m like a sh*t, north-eastern, Geordie version.”3
Sam Fender, Wythenshawe Park 2025
Some of the melodies in the album are not particularly striking to my ear, however. For example, in ‘Nostalgia’s Lie’, the chorus and verses are not that distinct and the guitar riff that repeats throughout can get slightly monotonous; similarly, ‘Crumbling Empire’ is fairly repetitive; and the melodies in ‘Remember My Name’ aren’t particularly catchy, despite Fender’s vocals excelling and the lyrics being extremely poignant and emotive (paying homage to his late grandparents by singing from their perspective: “I’ll pray you’ll remember my name”). However, I rate many of the songs on the album highly, including ‘People Watching’ with the intensity of its chorus; the catchy tune of ‘Chin Up’; the overlapping guitars in ‘Wild Long Lie’; the subtle but effective chorus in ‘Arm’s Length’; the sweeter sound of ‘Rein Me In’ with its gentle piano and swinging beat; and the much darker and moody sound of ‘TV Dinner’ (a song which reminds me of the intensity of some of his earlier tracks and which I love). Although some songs aren’t that striking to me, which may be in some way due to his very distinctive sound, Fender still manages to create much contrast throughout the album.
Fender’s distinctive sound has flourished and comes across clearly in this album. It has evolved since his earliest tracks, which often had a darker and more moody atmosphere – and to be honest, I quite miss this! He has not lost his ability to write profoundly meaningful and clever lyrics, however, and this is one of the greatest aspects of his songwriting, as well as his brilliant guitar work. I would say that some songs are slightly repetitive with melodies that aren’t particularly striking, however, overall, People Watching is a great album in which Fender’s talent and skill shine, and it features some very catchy songs with powerful lyrics and commentaries on society.
A Musician's Corner 