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Welsh soul artist SJ Hill steps into his most vulnerable and cinematic chapter yet with his new single “Spell On Me,” a powerful release that captures the emotional chaos of loving someone who both saves and destroys you at the same time. The track feels like a confession set to music — dramatic, intimate, and driven by a voice that sounds like it’s carrying the weight of every word.
After gaining momentum with his previous single “Tonight,” which racked up over 1.4 million Instagram views and more than 40,000 streams, Hill continues to carve out his space as one of the most emotionally compelling emerging voices in UK soul and pop. From Cardiff stages to international attention, his journey has included major milestones such as appearances on BBC Radio 1Xtra, BBC Radio Wales A-List, and Spotify’s Fresh Finds, as well as live performances at venues like Wembley Arena and the O2 Academy London. He’s also no stranger to mainstream audiences, having reached X Factor bootcamp in 2017, won an episode of ITV’s Romeo & Duet, and made the semi-finals of LLIAS – The Welsh Voice. Most recently, his growing reputation saw him performing for high-profile guests including John Legend, Chrissy Teigen, and Chris Martin at a New Year’s Eve event in the Maldives.
“‘Spell On Me’ is a song that I hope a lot of people can relate to,” says SJ Hill. “It’s about the type of relationship when you know someone is bad for you, but you keep coming back because they lift you up and break you down in equal measure.”
Co-written with long-time collaborator Tommy John, the song explores emotional contradiction and dependency — the kind of connection that feels intoxicating even when it’s clearly unhealthy. Lyrically, Hill leans into themes of obsession, emotional addiction, and the strange comfort found in chaos, portraying love as something that can feel both like medicine and poison. The result is a track that feels deeply human, balancing tenderness with tension, and vulnerability with restraint.
Sonically, “Spell On Me” blends modern soul with pop sensibility, anchored by hypnotic melodies and a vocal performance that feels both fragile and commanding. It’s the kind of song that doesn’t just tell a story, but pulls the listener directly into the emotional experience itself. Fans of artists like Hozier, Rag’n’Bone Man, Lewis Capaldi, Dermot Kennedy, Sam Smith, and The Weeknd will recognize the same emotional intensity and cinematic depth that defines the best of contemporary soul-pop.
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I’ve been following Avery Cochrane for a while now. The first track that caught my attention was “Shapeshifting on a Saturday Night,” a song that keeps finding its way back into rotation. From the start, it was clear Avery has a handle on turning personal moments into pop songs that stay with you. So when a new release arrived, it already had my attention.
Her latest single, “Griever,” focuses on what happens after an unexpected encounter with someone from your past. Not the moment itself, but the days that follow. The thoughts that show up later. The things you replay. The realization that some feelings never left. The song lives in that space, where memory and reaction keep looping.
“Griever” opens with layered vocals and piano, with no beat at first, letting the words sit on their own. There’s a sense of drama in the structure that recalls the pop instincts of Charli xcx, especially in how the song builds tension before releasing it. When the beat comes in, the track shifts into motion, pairing movement with lyrics that stay focused on the spiral underneath.
The writing is where the song locks in. Avery uses rhyme chains that keep the listener pulled forward: “fingers” into “wringer” into “restaurant singer,” “leader” into “believer” into “10 years weaker,” “feature” into “theater” into “griever.” The repetition and structure mirror how thoughts circle after the fact, revisiting the same ideas from different angles.
Specific lines carry much of the weight. “3 years gone, but I’m 10 years weaker” and “You turned a short film to a full-length feature” capture how memory stretches moments beyond their original scale. There’s also humor threaded through the song, grounding it in real experience rather than letting it drift into distance. Lines like “I even got fired as the restaurant singer” and “She’s taking pictures in my swimsuit / That’s cute” keep the perspective intact.
From a listening standpoint, “Griever” fits well alongside current pop discovery and alt-pop playlists on Spotify, including New Music Friday, Indie Pop, Pop Rising, Alt Pop, Bedroom Pop, and Sad Girl Starter Pack, where songwriting and structure drive repeat listens.
“Griever” feels like a song built for replay, not because it asks for attention, but because it reflects a process many people recognize. Avery Cochrane continues to build a catalog that documents those moments clearly, one song at a time.
Momentum continues to build for Keni Titus, who returns with “hands to myself,” a quietly magnetic alt-pop track that leans into curiosity, temptation, and the soft ache of wondering what else might be out there. Released via ADA, the song arrives alongside a new music video and marks the third release from her upcoming debut album AngelPink, due February 6, 2026.
Co-written with Will Taylor of Hovvdy, “hands to myself” thrives in restraint. It doesn’t rush the moment—instead, it lingers in the in-between space where longing, self-control, and imagination overlap. Sonically subtle and emotionally precise, the track reflects the album’s broader theme of duality: staying grounded while quietly questioning what you may have taken for granted.
Keni describes AngelPink as a process of losing herself and finding her way back—not to another person, but inward. Written in the aftermath of a breakup and a close friendship ending, the album documents isolation, healing, and rediscovering joy in creation. “Making art is supposed to be fun,” she says. “Not perfect—but fun.” That philosophy runs through “hands to myself,” which feels honest, unguarded, and gently self-aware.
Lyrically, the song circles the familiar “grass is greener” pull, capturing discovery and longing without judgment. It’s reflective rather than dramatic, letting small observations do the emotional work. That intimacy makes it a natural fit for Spotify playlists that favor nuance and atmosphere, including New Music Friday, Indie Pop, Alt Pop, Bedroom Pop, Sad Girl Starter Pack, Chill Pop, and late-night discovery playlists driven by introspective storytelling.
The release comes as Keni prepares to headline sold-out shows in Los Angeles and Brooklyn, signaling a clear step forward as she approaches her debut album era. With “hands to myself,” Keni Titus continues to shape AngelPink into a diary of becoming—documenting who we were, who we’re shedding, and who we’re learning to hold a little more gently.
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Euphoric, neon-lit pop takes center stage on “Get You High,” the latest release from blondfire, and it feels tailor-made for repeat listens. Built on shimmering synths and an infectious, post-punk–tinged bass line, the track channels an unmistakable ’80s flair while keeping its footing firmly in modern Europop.
blondfire—aka Erica Driscoll—leans confidently into contrast here. The song is bright and euphoric on the surface, but there’s a subtle emotional pull underneath, giving it depth without dimming the fun. Her vocal delivery slides effortlessly between sweetness and strength, striking a balance that recalls classic pop cool while sounding entirely current.
The track’s glossy, romantic energy makes its inclusion in the official trailer for Emily in Paris feel almost inevitable. “Get You High” carries that same jet-set sparkle—stylish, carefree, and emotionally aware—making it as fitting for a late-night drive as it is for a dance floor moment with friends.
At its core, the song is about optimism with honesty. “This song is about wishing only good things for someone you love,” Driscoll explains, “but letting them know that you’ll be there for them through the bad stuff, too.” That sentiment gives the track heart, elevating it beyond pure escapism.
Sonically, “Get You High” sits comfortably alongside timeless pop influences like Heart of Glass and I Love It, blending retro cool with modern confidence. From a discovery standpoint, it fits seamlessly into Spotify playlists such as New Music Friday, Pop Rising, Dance Pop, Synthwave Pop, Retro Pop, Feel-Good Pop, and fashion-forward, upbeat editorial playlists tied to TV and film culture.
With “Get You High,” blondfire delivers exactly what great pop should: joy, polish, and just enough emotional nuance to keep you coming back.
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Bianca Hosking shares a reflective new chapter with “Liberty,” a slow-burning, mid-tempo melancholic pop track that leans into feeling over flash. There’s a familiar sense of emotional storytelling—echoes of Taylor Swift’s early influence—but Bianca quickly finds her own voice, grounded in atmosphere and restraint.
Based in Melbourne, Bianca approaches songwriting as a process of discovery, pulling from the subconscious and allowing moments to reveal themselves as she writes. “Liberty” captures that instinct perfectly, unfolding patiently and creating what she describes as a time stamp—a preserved feeling the listener can step into and make their own.
Infused with dream-pop textures and inspiration from artists like Lana del Rey, Kacey Musgraves, and Frank Ocean, the song feels intimate yet expansive. It fits naturally alongside emotionally driven pop on Spotify playlists such as New Music Friday, Indie Pop, Pop Chillout, Chill Pop, Sad Girl Starter Pack, and Dreamy Pop, where mood and storytelling lead the experience.
With live performance experience and a community-first approach to music, “Liberty” feels like a confident step forward for Bianca Hosking—an understated, thoughtful release that values connection over noise.
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