This edition of Indie Pop BOPS highlights a track built on warmth, compassion, and classic songwriting charm. Chris Oledude’s We Will Get Through This is a soothing dose of light at a time when many listeners are craving exactly that.
Chris Oledude – We Will Get Through This
A brilliantly uplifting indie pop ballad. We Will Get Through This glows with heart, honesty, and real human hope.”
Chris Oledude returns with We Will Get Through This, a gentle indie pop ballad shaped by gratitude and emotional clarity. Inspired by Oledude’s work with a community mental health organisation, the track blossoms into something universal, celebrating the kind of steady love that carries people through difficult seasons.
Warm acoustic guitar, tender vocal harmonies, and a soft melodic lift give the song a timeless feel. It nods to folk, Broadway classics, and golden era pop while staying beautifully grounded in Oledude’s own storytelling voice.
As the only ballad on his debut album Preacher Man Vol. 1, this track stands out as its emotional centre. It radiates kindness, calm, and quiet resilience. We Will Get Through This is a reminder that hope is not naive. It is necessary.
This edition of Indie Folk Bops steps into the gentle world of kind hearted songwriting, quiet honesty and melodies shaped to comfort, connect and linger. Today’s pick is rooted in compassion and the simple power of looking after each other.
inkind – Feels Like Home
A soft and luminous indie folk song about belonging, connection and the comfort found in the people who hold us steady.
“We write songs about plans we never keep, lessons learned the hard way, and looking after ourselves and each other,” say Erin and Nate. Feels Like Home captures that universal longing for belonging, whether that is a place, a person or simply a feeling. It is the kind of song that settles into your chest and glows there.
With years of performing and touring between them, inkind invite listeners into their own musical space, a place where kindness leads, stories matter and harmonies feel like a conversation between old friends. Feels Like Home reflects that ethos with gentle guitar work, warm vocal blends and a lyric that lingers long after the final chord.
Their songs are anchored in shared humanity and shaped with a mixture of compassion, raw honesty and a wry sense of humour. The result feels familiar and fresh at the same time, drawing from folk tradition while weaving in hints of jazz, rock and pop. Erin and Nate write for people who are learning, growing and trying again, offering comfort without shying away from life’s harder edges.
With rich harmonies, thoughtful phrasing and melodies that carry both weight and ease, Feels Like Home invites listeners into a space of connection. It is music that encourages us to look after ourselves and one another, reminding us of the power of kindness. We love it.
This edition of Electronic Bops jumps into bright beats, dance floor warmth and the kind of collaborative spark that turns a simple idea into something full of life. Today’s pick is vibrant, heartfelt and designed to connect.
DJ Snudi – Take My Heart
DJ Snudi delivers an uplifting electronic track shaped by fresh beats, glowing energy and a message centred on love and human connection.
Take My Heart arrives from German producer DJ Snudi, recorded in his home studio where creativity flows freely and experimentation sits at the core of his craft. Built in collaboration with Rico, the track began as a chance encounter on a music platform and evolved into a harmonic partnership that gives the release its emotional pulse. Bright synths, warm chords and steady dance rhythms guide the song, creating a feel good atmosphere that invites listeners in from the first moment.
Snudi’s approach is rooted in movement and emotion. His sound blends house, dance, EDM and techno influences, but always with a focus on melody and connection rather than pure club aggression. Take My Heart reflects this balance, offering a track that is both lively and sincere, shaped for people who want electronic music with heart at the centre.
As anticipation builds for the official release, Take My Heart stands out as a promising early statement from an emerging producer finding his voice. Full of colour, rhythm and genuine warmth, it marks the beginning of a musical journey that aims not only to entertain but to bring people together.
This edition of Singer Songwriter Bops drifts into hushed emotion, gentle tension and the quiet power that comes from a single voice with a difficult truth. Today’s pick is intimate, poetic and beautifully spare.
Amy Vee – Blood in the Water
Amy Vee delivers a haunting and delicate moment shaped by finger style guitar, soft intensity and a lyric that sits right at the edge of revelation.
Australian artist Amy Vee returns with Blood in the Water, her first new single since Live at Lizottes. The track leans into a stripped back blend of indie folk and dream pop, allowing space for silence, texture and emotional detail. It is a song about secrecy, perception and the instant everything can change, written with a steady sense of restraint that makes every word feel purposeful.
Recorded after two years of national touring, the track captures the quiet electricity of Vee’s live performances. Close mic’d vocals and delicate guitar work build a slow burn mood, shaped in collaboration with producer Gareth Hudson. The result balances vulnerability with meticulous production, letting the song’s emotional weight grow gradually rather than dramatically.
Vee describes the heart of the song as a moment of clarity that unravels everything we thought we knew. That sense of fragile revelation threads through every line, giving Blood in the Water a poetic pull that stays long after the track ends.
A multi instrumentalist and award winning composer and performer, Vee continues to shape music that comforts and unsettles in equal measure. Blood in the Water stands out as a quietly powerful singer songwriter release and an exciting step into her next chapter.
San Diego artist Matthew Phillips has built a reputation on big melodies, emotional storytelling and the kind of guitar work that refuses to fade into the background. His sound pulls from pop, rock and cinematic electronics, creating songs that feel both modern and nostalgic. With a growing fanbase, major live moments and a run of breakout singles, Phillips is shaping himself into one of Southern California’s most compelling new voices.
Your music mixes big pop energy with those classic rock guitar moments. How did that blend become your thing, and what keeps you excited about it?
I started out as a guitar player, learning from the greats — Eric Clapton, Prince, B.B. King, and John Mayer. As I started to form my own sound, the music that hit me the hardest lyrically came from the alternative-pop world: the Goo Goo Dolls, Train, and 30 Seconds to Mars.
The third element is a little different, but that anthem-EDM side of me came straight from Porter Robinson, Zedd, and Illenium. That mix of influences is what makes me me. I love all these artists, and I haven’t found many people blending all these genres the way I do — guitar solos with EDM-style synths. It’s different, it’s unique, but it feels right.
There’s a quote I read years ago about an artist forming their ideas by failing to impersonate their heroes. That line nails it for me — not just for who I am as an artist, but for pretty much every artist ever. I love music so much, and being able to play it live is what keeps me excited. There’s this euphoric feeling and power that live music creates — it’s almost impossible to describe.
That moment when the kick hits… when Cory Noonan slams those floor toms… when Reese Morin hits that one note on bass or shakes the earth with the synth bass… it’s something indescribable, I LOVE it. Seeing the love and unity at shows; hearing people sing these anthems, and then telling us after the set what the songs mean to them — that’s priceless.
You’ve played some serious shows recently. Was there a live moment that made you stop and think… ok, this is really happening?
Thank you so much! I’d say the “light dance” is one of those moments where, when it happens, it’s straight-up magic. There were 1 time in particular where the band and I looked at each other like, “Yup… this is really happening.” One of them was at the House of Blues when we played the release show for “Till It’s Over.” I told the audience we were filming and that this was going to be the official music video. Then I explained that the song is about getting over a toxic relationship and finally having the courage to say no more.
I asked the crowd, “If you’ve ever been in a toxic relationship, put your lights up.” And the entire room lit up brighter than the stage lights. It was this moment of unity and vulnerability that I’ll never forget. Of course, a few jokes popped off too — some people started outing the toxic one standing right next to them. “THEY are right here!” Pointing to their partner. 1 couple yelled “I choose to stay with him! I Choose to stay with her”. Everyone was putting each other on blast. It was hilarious and perfect all in 1 moment. At about 2 minutes and 50 seconds into the song, I jumped onto the barricade to get as close to the crowd, and the way that felt… was honestly perfection. We were all moving in unison. Music really does bring us together, and every time we play, I try my best to bring moments like this everywhere we go.
Your new album feel very personal, but also cinematic. When you write, are you pulling from real life or just following whatever story the song wants to tell?
All my music comes from real-life moments or real-life experiences. I’ve always felt that if you get up on stage and sing a song that doesn’t mean something to you, the audience will feel it — and it’s just not going to land. Music has to be vulnerable. It has to come from a place that’s real.
When I was writing “Till It’s Over,” there were lines where I thought, man… this might be a little too personal. Some of those lines even brought me to tears the first time I sang them. A mentor once told me, “When you reach that moment — when it breaks you — that’s when you know you’ve got something special.” And that always stuck with me. Both “Till It’s Over” and “Time Fades Love” had me in tears while I was making them.
There’s something about those songs that pulled something honest out of me that I didn’t even know I needed to say.
At a recent show at the Del Mar Fair, a couple came up to me afterward and told me they were going through a tough time, and that “Time Fades Love” meant the world to them. They shared more with me, things I’ll keep private, but it reminded me exactly why I write the way I do. Before I play that song live, I always say, “This next song is about never giving up on someone you care about — never giving up on someone you love.” That’s what it’s all about. Real experiences, real emotions, and hoping the truth in my songs helps someone else feel seen.
With guitar brands, awards, and fans all backing you, how do you keep your head clear and stay focused on the creative side?
While I dreamed of certain things happening, in the end when we are in front of an audience all of that stuff goes away. It really has never been something that clouds my artistic vision. Only that we are doing something correct and that its resonating and moving people. The pressure, the expectations, truly disappears and people can see how much we love what we do. The connection in the room, the energy bouncing back off the walls, the feeling that we’re all in the same moment together.
That’s what keeps me centered. The human connection of what we do is everything and bringing the audience with us to be apart of the show is truly one thing we do exceptionally well. At a recent show my guitar tech Robert Bell said something unbelievably profound right before we hit the stage. “Everyone is out there is waiting for you, go be the best part of their day.” That moved me beyond words and just made me realize how truly powerful music is. Not only to me but to everyone every single day.
What’s inspiring you right now as you look toward your next chapter, whether in music or just life in general?
Getting back into the studio to make more music. This album was an extremely long journey of finding what made my sound, my unique voice. I have a great team built through the years and we are excited to keep creating and pushing further and further. 2026 is already looking incredible show-wise and I can’t wait to share what’s going to start happening next. This last album taught me a lot about who I am as an artist and what my sound is supposed to feel like. It wasn’t always easy, but the struggle is what shaped it into something real. Now that the foundation is there, I feel this wave of momentum to push further and help those around me pursue thier creative pursuits.
My team has grown with me through all the ups and downs, and we finally hit that place where everybody understands the vision and wants to push it even further. We’re already tossing around ideas, experimenting with new sounds, and figuring out where to take things next.
2026 is shaping up to be wild! The shows we have lined up, the opportunities, the energy is building… it feels like the beginning of a whole new chapter. I can’t wait to let people in on what’s coming, because if this year was about discovering my voice, next year is about seeing how far we can take it.
Matthew Phillips feels like an artist in full motion, driven by craft, connection and a clear sense of purpose.
His rise has been built on sincerity and showmanship, and the next chapter looks set to raise the bar even higher. Whatever comes next, it is clear he is only just getting started.
This edition of Dark Pop BOPS dives into the cinematic shadows with Bristol’s Vacant Shores, whose self-titled EP brings together widescreen production, emotional depth, and a hypnotic sense of atmosphere. It’s the sound of dreams and disquiet colliding — lush, haunting, and utterly immersive.
Vacant Shores – Vacant Shores (EP)
Vacant Shores craft widescreen electronic pop that glows softly in the dark – emotional, cinematic, and beautifully human.
On their latest self-titled EP, Vacant Shores lean fully into their blend of electronic trip-pop and atmospheric songwriting. The Bristol trio build soundscapes that shimmer with both intimacy and grandeur, balancing cool precision with emotional warmth. From the delicate pulse of Flat Circle to the soaring melancholy of Wasted Breath, every moment feels carefully constructed yet deeply felt.
Fronted by Suzy Alderton and AJ ‘Sid’ Sidford’s vocals, the band’s sound has evolved into something expansive and cinematic, calling to mind acts like Moderat and Beach House. The vocals drift like smoke over layers of synths and subtle percussion, carrying both fragility and strength. Jon Elliott shapes the sound with cinematic intent, turning texture and tone into storytelling tools.
There’s a quiet confidence in Vacant Shores’ approach. They don’t chase intensity; they let it unfold. Each track feels like a film scene – lingering, emotional, and rich with detail. The result is a record that feels both nocturnal and human, a reflection of modern life’s beauty and blur.
This edition of Hip Hop Bops enters darker territory, blending cinematic flair with alternative hip hop energy and a taste for the surreal. Today’s pick is theatrical, eerie and strikingly original.
JESUS THE APOLLO – THE MOON MAN!
Jesus The Apollo delivers a bold, atmospheric hip hop piece that mixes esoteric imagery, cinematic tension and a magnetic performance presence.
THE MOON MAN! arrives as a haunting and imaginative release from London born, Manchester based artist Jesus The Apollo. Written and produced during the Halloween period of 2023, the track carries a cinematic chill that instantly sets the tone for its world. It fuses alternative hip hop with spoken word cadence, electronic edges and a sense of ritualistic drama, creating a soundscape that is both nostalgic and otherworldly.
The track draws from Apollo related esoteric texts and 80s pop sensibilities, blending ancient symbolism with modern flair. This gives THE MOON MAN! a distinctive identity, where ascending melodies and hypnotic rhythms meet inventive lyrical imagery. The result is a piece that feels theatrical yet grounded, dark yet strangely inviting.
Jesus The Apollo’s background in theatre and sound scoring shines throughout. Influenced by horror and thriller films, particularly Hitchcock’s Psycho, he brings a sharp cinematic edge to his music. His alter egos, including STEve, IVY, The Villain and The Moon Man, further shape the atmosphere, adding layers of character to his sonic universe.
THE MOON MAN! stands out as a mesmerising and unconventional hip hop release, full of mood, mystery and artistic ambition.
This edition of Alt Pop Bops embraces bright colour, emotional clarity and the energetic spark of artists blending cultures into something fresh and unmistakably their own. Today’s pick is vibrant, melodic and full of heart.
Eva Pagán – EP1
Eva Pagán delivers a bold and expressive alt pop moment that fuses Spanglish storytelling with glowing electro pop charm
EP1 arrives as a love letter to Eva Pagán’s immigrant family, carried through bright synth textures, sharp melodies and lyrics that jump effortlessly between Spanish and English. Built on the theme of “far”, the track acts as a thesis statement for her next chapter, celebrating the cultures she carries and the emotional depth she is ready to explore more openly in her music. It is lively, heartfelt and instantly catchy, shaped with the kind of confidence that comes from an artist stepping fully into her identity.
The EP sits comfortably in the world of artists like Rosalía, Charli XCX and Bad Bunny, yet it retains a warmth and sincerity that feels deeply personal. Eva’s vocal delivery is expressive and full of movement, giving the track a vibrant pop energy while still holding space for moments of honesty and reflection. As a Spanglish electro pop artist with millions of streams and a rapidly growing fanbase, she brings a unique perspective to the alt pop landscape.
With its infectious melodies and emotional openness, EP1 stands out as an exciting new chapter for Eva Pagán, marking her as an alt pop voice to watch closely in 2026.
This edition of Indie Rock Bops taps into sharp left turns, cathartic energy and playful weird-pop rock. Today’s pick delivers a whirlwind of melody, chaos and charm that refuses to sit still.
Dog Years – A Different Animal
Dog Years twist indie rock into corkscrewing, kaleidoscopic shapes, creating something chaotic, heartfelt and instantly addictive.
Newcastle outfit Dog Years return with A Different Animal, the first single from their forthcoming album MEGAFAUNA. It is a restless, jagged, fast-switching track that feels like flicking through decades of musical memory in one breath. From 60s jangle to 90s alt-rock clang, the band collide eras and instincts, stitching them into a song that constantly tries to wriggle out of its own skin.
The band recorded the track in their shared practice room at Clothworks, a former clothing factory turned creative hub. Surrounded by dub on one side and a Blur tribute band on the other, Dog Years worked in the cracks between the noise, capturing big live performances in a tiny rehearsal space. The approach was scrappy, instinctive and immediate: one or two takes, then move on. That urgency bleeds through the track’s spiky guitars, tumbling rhythms and Carly Fee’s gleaming harmonies.
Songwriter Simon Fee’s stream-of-consciousness lyrics add another layer: abstract but emotional, obscure yet oddly profound. The result is a track that spirals between humour, catharsis, harmony and chaos. It is ambitious without being bloated, packed with ideas but never losing its melodic punch.
With its bold detours, rapid-fire energy and unmistakable personality, A Different Animal is a thrilling opening statement for the MEGAFAUNA era, proving Dog Years are more inventive, more confident and more fun than ever.
This edition of Alt Pop Bops sits in the soft glow of oddball charm, gentle melancholy and the unmistakable warmth of lo fi indie imagination. Today’s pick drifts between sweetness and strangeness, offering something tender, off kilter and deeply human.
Pesky Kid – Holy Light
Pesky Kid delivers a fragile, lovely alt pop moment shaped by breezy melodies, meta modern quirks and a quiet emotional pull that lingers long after the song ends.
Holy Light arrives as the third release this autumn from multi media artist Pesky Kid, and it might be the prettiest yet. Sitting somewhere in the world of MJ Lenderman, Magnetic Fields and early Belle and Sebastian, the song carries a soft folk tint alongside a dreamy indie pop shimmer. Its charm lies in its understatement, letting lo fi texture, thoughtful phrasing and gentle melodic turns create an atmosphere that feels both intimate and a little surreal.
The track reflects Pesky Kid’s broader creative universe, which mixes breezy beach side nostalgia with the feeling of old cassettes melting in the sun. Influences like Beck and Still Woozy float through the production, but always through Benjamin Champagne’s own filter of underground indie electro pop. The result is light, summery and quietly affecting, with a modern touch that fits perfectly into the 2020s alt pop landscape.
Holy Light stands out for its subtle glow, offering a soft and slightly quirky escape into Pesky Kid’s colourful, genre bending world. It is tender, imaginative and unmistakably his.
