Listening to “Radiate,” the new single from Oxford, Mississippi indie outfit HAPPY LANDING, it’s immediately clear the band is stepping into a bigger sonic world.

Formed in 2020, the group first gained attention through folk-leaning indie rock — textured guitars, earnest songwriting, and that warm Southern undercurrent that made their early releases feel grounded and intimate. But “Radiate” signals something more expansive. Electronics and pulsing rhythms now thread through their sound, adding tension and atmosphere. Synth textures rise and fall in waves, and the perfectly timed pauses create a kinetic push-and-pull that keeps the track alive from start to finish.

This isn’t a reinvention. It’s growth.

The song feels like a natural bridge into a broader indie-pop and alternative lane — the kind of track that would sit comfortably inside Spotify’s All New Indie, The Indie List, or even Indie Poptimism, while also finding momentum through algorithmic spaces like Fresh Finds Indie and Alternative Beats. There’s crossover appeal here too; “Radiate” wouldn’t feel out of place drifting through Chill Alternative or Indie Roadtrip playlists during a late-night drive.

That balance is what makes the record compelling. It maintains the band’s emotional core while expanding the production palette in a way that feels intentional and forward-thinking. Fans of COIN, Hippo Campus, The Band CAMINO, or even the brighter electronic moments of The 1975 will hear a familiar energy — but with HAPPY LANDING carving their own lane.

“Radiate” offers the first glimpse into their upcoming sophomore album, Big Sun, arriving March 6. With a U.S. headline tour set to follow, the timing couldn’t be sharper. This is the kind of sonic evolution that not only refreshes a catalog but opens doors — from festival slots to sync placements to broader editorial playlist visibility.

If “Radiate” is any indication, HAPPY LANDING isn’t just refining their sound. They’re expanding their orbit.

London-based songwriter and solo artist Filip Clements is stepping into the spotlight with his new single, “Right Place Wrong Time,” a driving, uptempo record that blends electro textures with indie pop-rock energy. The track carries the kind of momentum and atmosphere that feels built for late-night listening and festival stages alike.

“Right Place Wrong Time” captures a sense of motion and reflection, pairing modern production with guitar-driven songwriting and emotive vocals. It’s the kind of track that balances energy with mood—something that tends to resonate strongly with fans of contemporary indie and alternative pop.

The song would fit naturally alongside records featured on Spotify playlists like Fresh Finds, All New Rock, Indie Pop, New Music Friday, Rock This, The Indie List, Feel-Good Indie Rock, and Electro Rock, where uptempo, melodic tracks with strong hooks continue to gain traction.

Clements’ music is written with scale in mind. His upcoming debut album, Soft Apocalypse, scheduled for release in autumn 2026, was recorded at Eastcote Studios and produced by an impressive team including Grammy-winning producers Catherine Marks (boygenius, Ed O’Brien), Martin Terefe (Yungblud, Robbie Williams), and Tord Knudsen (The Wombats), with recording and mixing by George Murphy and drums by Karl Brazil. The record promises modern, guitar-led songwriting shaped by atmospheric arrangements and distinctive, slightly off-center lyricism.

Originally from Norway, Filip grew up surrounded by music and began performing publicly on guitar as a child. As a teenager, however, he took a different path and enlisted in the army. It was during that time—stationed far north of the Arctic Circle—that music became a defining part of his life, as he spent nights writing songs on a worn piano in a small chapel.

His songwriting later caught the attention of Joachim Berg and Martin Sköld of the Swedish band Kent, leading to a period of writing and recording in Stockholm. In 2022, Filip relocated to the UK to focus fully on his solo career, and now, in 2026, he’s beginning to release music that reflects that journey.

With “Right Place Wrong Time,” Filip Clements introduces listeners to a sound that bridges indie rock energy, pop sensibility, and atmospheric production—an approach that positions him as an artist to watch in the year ahead.

There’s something striking about artists who aren’t afraid to cross genre lines, and LEROCQUE is exactly that kind of vocalist. His new release, “Not Invisible,” is a heartfelt and emotionally charged track that speaks directly to one of the most overlooked struggles of modern life—loneliness in a world that’s more digitally connected than ever.

At its core, “Not Invisible” is about real human connection. The song reminds listeners of something simple but powerful: everyone wants to feel seen, valued, and understood. Through honest lyrics and a cinematic production style, LEROCQUE captures that feeling in a way that lingers long after the track ends.

Musically, the record blends atmospheric pop textures with a deep, rumbling foundation that gradually builds into a dramatic and memorable drop. The arrangement gives LEROCQUE space to fully immerse himself in the performance, and his vocals carry both strength and vulnerability, creating moments that genuinely give listeners chills.

The message behind the song resonates strongly. “Not Invisible” feels written for anyone battling self-doubt or isolation, offering reassurance that even in the quietest moments, no one is truly alone. It’s the kind of record that connects emotionally while still delivering a polished, modern pop sound.

The track would sit naturally alongside songs found on Spotify playlists like Fresh Finds, Chill Pop, Indie Pop, New Music Friday, Pop Rising, Mood Booster, and Feel-Good Indie Rock, where melodic pop records with emotional depth tend to find strong listener engagement.

With this release, LEROCQUE continues to show an ability to blend meaningful songwriting with contemporary production—an approach that keeps listeners coming back and marks him as an artist worth watching.

Keep an eye out for Tori Lange’s third release, Used To Disaster—a track that leans a little more introspective and melancholic than her earlier work, including her debut Flowers.

In the song, Lange delivers the line, “No matter how hard I try, I struggle to be a good master, I’m getting used to disaster,” capturing the emotional tone that runs through the record.

Recorded in Nashville, the track blends a steady rhythm with an easygoing feel, giving it the kind of laid-back energy that fits naturally alongside playlists like Good Vibes, Fresh Finds, Indie Pop, Chill Pop, Bedroom Pop, and Feel-Good Indie Rock—the kind of spaces where melodic, emotionally honest records tend to connect with listeners.

At just 16, Lange is already carving out her own lane. Inspired by artists such as Orla Gartland, James Marriott, Arthur Hill, and Jorge Rivera-Herrans, she brings a perspective shaped by an international upbringing—born in Bonn, Germany, and having lived in Wiesbaden, Memphis, and London, each place leaving its mark on her sound and storytelling.

I’ve always appreciated artists who aren’t afraid to evolve, and Canadian singer-songwriter Rachel Cousins does exactly that on her fourth album What Hasn’t Killed Me. Known for polished pop records in the past, this project feels more personal and stripped back, leaning into Adult Contemporary, Folk, and Alternative textures that let her storytelling breathe.

What stands out most is the honesty. Songs about mental health, recovery, friendships, and growing into adulthood run throughout the album, especially on the focus track “Little Help,” which captures the quiet courage it takes to admit you need support. There’s a warmth here that feels less like a performance and more like a late-night conversation with a friend.

Cousins has already built an impressive resume—award wins, television placements, and major stages—but this record feels like a creative turning point. You can hear the freedom in it, and the sound fits naturally alongside artists found on Spotify playlists like Fresh Folk, Next Gen Singer-Songwriters, Fresh Finds Indie, Chill Pop, and New Music Friday Canada, all of which lean into reflective songwriting and emotionally driven pop.

What Hasn’t Killed Me ultimately feels like an album about growth—messy, honest, and human—and Rachel Cousins sounds more comfortable in her own voice than ever.