Anna Hamilton was the newcomer most hadn’t been acquainted with, winning a contest to open for Dermot Kennedy as a local act. A Kansas native and one of 12 children in her family, Anna’s music dripped with bits of nostalgia and hopeful thoughts for the future. It was also an insanely beautiful experience, her sweet-as-honey vocals accompanied only by a guitar. It was mesmerizing.
By her third song, we caught a glimpse at specificity in a track about a boy that left her for a city – “Me For Barcelona.” The song had never been played in front of a live audience before and is not currently available, but is open for preorder via her link in bio at clever Instagram handle @a.ham.sandwich. Her fourth trach was about leaving Kansas to pursue her singing career in Tennessee, something so many artists struggle with. She has clearly found a safe haven and inspirational options in her relocation, as her last track – “Self Help” – was realized so early on. Of the track, she admitted that it was about taking care of yourself before allowing others to benefit from you. “You need to be 100% before your cup overflows and they can receive it.”
Bishop Briggs emerged, energetic as ever and donning a leather jacket on a pretty balmy night in the midwest. It was shed quickly, to reveal skeleton-printed fingerless gloves and delicate tattoos dancing across both forearms. The first time this town got acquainted with Bishop, she had barely edged into the world of tattoos. Now, you find yourself mesmerized by them as she jumps across the stage with every robust, belted line.
An artist that truly allows you to feel the songs with her, Bishop has cultivated a fandom that spans generations, cultures, and ideals. Perhaps the show’s littlest attendant – a young man no older than 10 or 11 – could be found belting out lyrics and clapping in time with his family during the intense track “Hi-Lo (Hollow)”. Her set included “Someone Else,” “Darkside,” and her most recognizable hit, “River”, among others.
When you think you’ve read all the end of year lists you can take, we’re still stringing our (very important) short ones out, to make sure there’s plenty of new music discovery at your fingertips throughout the month! 2018 was a year of insane amounts of music coverage, a bevy of incredible artists to choose from, and a really incredible list of new faces to dive into. While we don’t keep track of new artists vs. veterans, we would like to highlight some of our favorite vocalists of the moment with you. Trust us — this was a really hard decision process, which is why it took us a little longer to get it to post. We wanted to highlight people that both entertain like the most insane, and who we believe truly deserve the spotlight for it as well. You might not agree, but this may lead you on a tangent of music discovery, and we’re all for that. Without further ado, check out our Top 7 Male Vocalists of 2018 below!
by meredith schneider
Holy White Hounds is a group of guys we have been following for a while. Hailing from Des Moines, IA, the foursome emerges more triumphant and in-your-face with each new track, paving the way for their most recent full-length release – Say It With Your Mouth – which will make its debut on December 22nd. And don’t let their gritty attitudes and rough exterior fool you. Ambrose, Brent, James, and Seth are full of heart, a force in motion when they’re together, and really know how to relate to their audience. (While also making fun of them. But it’s charming, and we’re totally into it.) That, coupled with those edgy vocals, and we’ve got a rock band that just won’t quit! (Thankfully. Please don’t? We need you.)
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We may have been a little late to the game on this one, but pop/r&b singer/songwriter Dermot Kennedy is the Dubliner of everyone’s dreams. We were wandering SXSW this year when our friends at PlaylistPlay coerced us into popping into a church to listen to one of their favorite musicians. Honestly, we can’t think of a better way to first experience the insanely beautiful vocals Kennedy provides. His soundscapes are freeing, intense and wonderful in their disposition. If you don’t trust us, take a listen to his debut EP Doves & Ravens, or his most recent single “Power Over Me”, which was released in October.
by meredith schneider
Atlanta, Georgia-based Algiers absolutely astonished us at Sasquatch Music Festival this year. Lead singer Franklin James Fisher approached the stage with a Jimi Hendrix flare, and vocals that just do not quit. There is an enticing, soulful energy to their sound, with just a hint of reverb and incredible vintage influence that keeps us coming back for more. We can’t wait to hear their follow-up to 2017’s The Underside of Power, but are totally keen on waiting patiently for their next stunner full-length.
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You’ve heard of him. We’re not introducing this powerhouse to anyone, and we feel pretty darn good about that fact. Childish Gambino – aka the triple threat of everyone’s dreams – hits our list this year, if not only for his wildly eye-opening video for “This Is America“. We’ve been super into all of his work over the years, and our hearts swoon with each new line he spins, opening our eyes to an array of important – and often overlooked – issues. The man is an absolute enigma, and perhaps that’s what keeps us coming back for more time and time again.
by meredith schneider
We know we’ve harped on how incredible Judah & The Lion is, and now is not the time to stop. On December 12th, the (now) trio – who is joined by a rotating cast of instrumentalists and backup vocalists for their performances – released two singles, titled “Pep Talk” and “Quarter-Life Crisis”, landing themselves back on our radar. Check it out, and then dive into their catalogue if you haven’t already. Their music will throw you into that good mood you’ve been craving.
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Lionman – who we first experienced in May when he released the visual for his single “Don’t You Dare”. His vocals are directly associated with the term “smooth as honey”, and we’re drawn in from the first line. His hair is absolutely divine, His latest single “In My Letter” has a softer sound to it, and a rhythm that reminds us of some of our favorite OG Usher songs. This artist is definitely one to watch.
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If you’re into soulful, robust vocals that establish a mood, and somehow manage to get everyone in their vicinity to “feel the same way,” then Michael Kight is the way to go. In May, we had some thoughts on his track “Clear“, and still maintain that he was impressive on every level of musicianship. We count him as one of our favorite discoveries of the year, and look forward to more from him in the future!
These days, it can be difficult to determine one songstress from another, let alone save a track and keep the name of its creator in your music library. This time of year, everyone is posting their “Best of” lists for 2018. We aren’t doing a super deep dive. We’ve just chosen 7 of our favorite female vocalists that have really ignited our hearts in the last year or so – one we found as recently as a couple of weeks ago! – and we’re all about sharing! Check out some of our favorite non-male performers below, and then maybe go make an entire WHO RUN THE WORLD? playlist featuring each and every one of these powerhouses!
by meredith schneider
Billie Eilish wasn’t someone we saw coming. Having jammed out to a couple of her songs, Bonnaroo 2018 brought her to the stage in front of us for the first time. A look of vulnerability in her eyes, she gave that crowd more than what she had that day, throwing her body into her stage presence and really working the stage so that everyone felt like they were a part of it. Each new release brings with it an extended feeling of empowerment, and we’re keen on what’s to come for this incredibly talented young musician. (See video at the end of this piece: she is one of Tan France’s favorites!)
by christie mcmenamin
Lucy Dacus‘ voice is tranquil, delicate, and perfectly matched to her bittersweet, relatable lyrics. We’ve fallen in love with her as gently as her music progression over the years. We’re super pleased with her new supergroup boygenius (see: Julien Baker below), if not only because it gives us an additional reason to see her live more often. All the heart eyes going into 2019 on this lady!
by jeo taymany
Ness Heads is a Chicago-based artist who sings a soulful mixture of R&B and hip hop, with a bit of a pop flare. Her single “Flip Em” threw us for a loop during the summer of 2018, and we’re keeping that energy going through the next month as we hustle through our last minute year-end “to do” lists.
by christie mcmenamin
The world’s lead producer of sad music, Julien Baker stole our hearts a few years ago, but her stage presence and the incredible way she interacts with her fans is something of note. We were lucky enough to have seen her both locally and at 2018’s last ever Sasquatch Music Festival, and were floored on a number of occasions by her prowess. Check her out with new supergroup boygenius!
by erin p.s. zimmerman
It was 2016 when we first had the unique pleasure of photographing Bishop Briggs, as she prepped for an evening performing at the Midland in Kansas City. Flash forward 2 years and we’ve seen her a number of additional times, photographed her once more (see above photo, SXSW 2017), and have continued to follow each and every impassioned song that she releases as she’s toured the country multiple times, played every festival known to mankind, and as her music has been placed in both television and film. Her energy is unlike any other when she steps on stage, and her compassion is limitless. (See: her recent haircut) Plus, she was just featured on JVN’s podcast, so she’s definitely “having a moment!”
by meredith schneider
Mess lead singer Allison Gliesman is a kind, hilarious, and obscenely generous human soul. We’re fortunate to know them as a friend, but their music stunned us even before we met them face to face. Flash forward to witnessing those powerhouse vocals one night at The Rino in KC and our world was changed forever. If you haven’t yet blasted a Mess song at full volume in your car, now is the time. Keep your eyes peeled for this one.
by dara munnis
I was at Sasquatch Music Festival photographing a female-led band at one stage, when the music from another stage flooded my ears. Like a siren call, I followed it, toting my boyfriend like a rag doll. This. Woman. Has. Chops. Tash Sultana. After three songs, I turned and said, “She can do it all. Seriously. What can’t she do?” As if she could hear me, she got out a pan flute within 30 seconds… and started to beat box with it.
If you aren’t in love just with that statement, then I don’t know who you are. Insane. That’s the only word to describe it.
BONUS – While our other listing pieces will include just 7 representatives, we may have gone overboard BECAUSE WE ARE SO FLOORED BY SO MANY RAD NON-MALE VOCALISTS. So check out our list add-on below, and revel in the glory of 8 incredible humans!
Refreshing indie pop duo Lime Cordiale just released their full-length album Enough of The Sweet Talk on July 26th. The LP comprises 13 songs separated by four “French Cue” interludes. After listening to the whole album, I couldn’t help but compare their music to The Wiggles, an Australian-based music group known for their iconic tunes. Sure enough, after doing some research, Lime Cordiale hails from Sydney, Australia, and gives off the same vibes as the aforementioned, but with a mature coming-of-age twist.
The band is made up of brothers Louis and Oliver Leimbach, later joined by Brendan Champion on the trombone and James Jennings on the drums. The musicality of the album at its core is pop, with hints of indie rock shining through in the latter half of the album. The drums, electric guitar, and trombone make regular appearances throughout the album, with an electronic keyboard as a fun cameo added to a few of the songs.
The first part of the album feels amazingly carefree and pays tribute to romantic relationships. “Pedestal” and “The Milk Man” are perfect songs to jam out to, so much so that they paint vivid pictures many can relate to, whether it be slow-dancing at prom or having a summer fling at the beach. I can already see myself listening to these songs while I’m getting ready for a special night out!
“The Facts of Life” is where the album breaks out into more of a self-reflective realm. In my opinion, the song encourages you to pay attention to your surroundings and enjoy the smaller things life has to offer: chewing gum, ice cream, the birds and bees. Alternatively, “The Facts of Life” could also imply the feeling of sexual release, as evocative hot-and-cool imagery is used throughout the song. The next piece “Enough of The Sweet Talk” is as literal as it can get. As a listener, you can’t help but empathize with the brothers. Leimbach states that talking with this person (I assume a romantic partner) is frustrating because they truly won’t listen to him; it’s all meaningless sweet talk. Even if they share the meaning of life or the world is ending and they need someone to rely on, he still wouldn’t talk to them– opting to be alone despite such drastic conditions.
This brings me to my favorite piece of the entire album: “Happiness Season”. It’s a beautiful song wherein each lyric is punctuated by the drum’s beat and accentuated by an impressive trombone riff. Additionally, this piece really highlights the Leimbach brothers’ talents as tenor vocalists! My favorite part is the chorus:
She didn’t need me, I’ve been defeated, Oh that’s how it goes in happiness season She didn’t need me, I’ve been defeated, Oh that’s how it goes, imagine her leaving, with happiness season~
“When I’m Losing It” is where the album takes a serious turn. In this song, Leimbach is, for lack of a better term, head-over-heels crazy about his lover. He admits he gets jealous easily and always loses his nonchalance when he’s around her. Accompanying this self-deprecating streak are “Imposter Syndrome” and “The Big Reveal; Ou L’Hypocrite”. Both songs reveal feelings of bittersweet inadequacy. Leimbach doesn’t see his own appeal and cannot accept a compliment for his life. Leimbach is hiding a big secret under his stardom and it’s the fact that he’s a hypocrite living with imposter syndrome. To be honest I can see many young adults of my generation (Gen Z) relating to these songs the most. At the end of the day, whether we hold mid- to senior-level positions or amass thousands of followers, at one point in our lives we’ve all experienced imposter syndrome.
Another amazing song I would like to spotlight is “Country Club”. The lengthy trombone solo, reminiscent of New Orleans jazz, graciously allows listeners a moment to reflect on the message of the song. “Country Club” has an oddly psychedelic feel to it, with a catchy and hilarious chorus. This song narrates the life of a ‘nepo baby’ who cannot rely on their parent’s money anymore. Despite its advantages, having rich parents can actually be a disservice as the person in question doesn’t know how the real world works. Overall, it’s a great message anyone can take away from.
Ultimately, Enough of The Sweet Talk provides listeners with a wonderful range of life messages to learn from. In addition to love and heartbreak, the album touches upon the importance of self-reliance, staying humble, and the harm caused by your inner critic. These songs are going to be on repeat in my summer playlist and–dare I say– years to come!
A band that’s recently popped up on my radar is the LA-based indie/electronic duo Pop Noir, led by Manchester-born brothers Joe and Luke McGarry. Several influences inform their sound, namely vintage dance-rock acts like New Order, Primal Scream, and Depeche Mode, as well as more modern house/techno inspirations. While the band has been intermittently active for years, it’s been more of a side project as the two focus on other exploits, with their main pursuits being illustration/animation for Luke and filmmaking for Joe. However, new singles by the pair have been more consistently released in the past year, with their slickly produced cover of U2’s “New Year’s Day” and a ska-throwback titled “Santa Ana”.
Their newest single released earlier this month, titled “Soul Train”, expands on the band’s diverse musical trajectory while remaining lively and danceable. While previous singles like “White Jazz” were more uptempo and obvious in their highly danceable retro-rave influences, “Soul Train” diverts a bit from the band’s usual repertoire. It still has an enjoyable sound, but focuses more on introspection and vulnerability in the lyrics and performances. Luke McGarry’s vocals, clearly echoing Bernard Sumner, have more range that he didn’t get to explore on previous singles. He’s allowed to bring his voice to a falsetto on the chorus and even some crooning here and there, showcasing more of his talents. Musically, this has more of an emphasis on a killer big-band horn section and orchestral elements as opposed to the synths and drum machines that characterized their other work. It’s entirely unique and brings out the more dramatic qualities that the song is going for.
As of now, “Soul Train” doesn’t have any connection to a future EP or LP and currently serves as a standalone single. Still, it shows the duo as worth looking out for as they continue their still-young musical journey.
UK-based indie pop/rock band Pale Waves has released their new song “Glasgow”, the second single for their upcoming fourth album, Smitten. It continues the musical trajectory of the lead single “Perfume” by moving away from their previous pop-punk and emo sounds into a lush 80s dream-pop style reminiscent of alternative groups like The Cure, The Cranberries, or even Cocteau Twins. Lyrically, it’s described as a “breakup anthem” and speaks to the feeling of leaving someone because it’s best for both of you. It’s a song that also continues to show the diverse and eclectic talents of the band, composed of multi-instrumentalists Heather Baron-Gracie (vocals, rhythm guitar), Hugo Silvani (lead guitar), Charlie Wood (bass), and Ciara Doran (drummer).
I really mean that, too. “Glasgow” is a beautifully produced pop song that showcases Pale Waves at their most confident, earning comparisons to their obvious influences. Right out of the gate, the song bursts with energy, showcasing anthemic drumming and guitar playing, as well as really gorgeous synth playing. It captures the ethereal psychedelia of 80s dream-pop but still transports the sound into a modern indie-pop context.
“Glasgow” balances a dense and twinkly production while still functioning as an uptempo, pulsating pop-rock song that’s enjoyable throughout. I also have to give credit to lead vocalist Heather Baron-Gracie, as she really soars in the chorus. While some may feel her voice blends into the background, I think her vocals complement the production by becoming an instrument in itself. Her lyrics are also a highlight, being an honest and open look at relationships in a way that lends itself to the emotions of the music while not overtaking it.
The music video, also directed by and starring Baron-Gracie, showcases her as a runaway bride driving through Glasgow fields in a convertible. It’s very cute and visualizes the lyrics’ themes of escaping a relationship for your own freedom. Pale Waves are currently embarking on a headlining tour across the UK, with their new album Smitten coming September 20th.
The main appeal of the Mississippi-based indie folk band Happy Landing is their sweetness and love for one another which shows in each song. On Golden, their debut LP, the tight chemistry and connection that the band has is translated into an album that’s loveable, sweet, and sometimes willingly cheesy. The sound of the record (and the band) is one that combines the spirit of indie music with rootsy Americana sounds and is filled to the brim with expertly performed vocal harmonies. Both lead singers, Matty Hendley and Keegan Christsen respectively, blend their voices well enough, though each brings unique qualities when leading. Hendley has a raw vulnerability in his vocals that makes the lyrics seem true and sincere, whereas Christsen’s voice is more confident and boosts the harmonies. And these harmonies are the most easily identifiable part of their sound, as almost all the songs feature bold and soulful choruses where every band member joins together. It’s likely why the band is noted for their live shows, as each song easily functions as an inviting sing-along with an audience.
The first few songs of Golden work mainly in the same upbeat “stomp-and-holler” indie mold, with “Lose The Gun” being a strong opener and “The Family Band” presenting the band’s ear for melody. These tracks are easy to appreciate, with the former and “Let Me Out” being obvious choices for singles, but a lot of the best moments of the album come with more restraint. When the vocal harmonies are utilized in softer and more nuanced ways like on “My, My, My” or “Greyhounds”, it’s easier to appreciate the songwriting and vulnerability of the performers. Not to say the album’s production is at fault, as it’s one of its strongest points. Several songs balance layers of root instrumentation and vocal harmonies but never feel disorganized or incoherent. “Marriage Song” best represents this, with its vast and sweeping string section growing more powerful towards the song’s climax.
Golden is a rare album that has its sound matched perfectly by the cover. A golden crescent moon that seems to darken while set against a worn leather texture. It’s oddly similar to the sorts of images that came upon me while listening: watching a setting sunset amongst fireflies, or the coziness when curled up with a good book. This is an album that’s appealing and accessible without ever trying hard to do so, based purely on Happy Landing’s likeability.
This fall, Happy Landing will embark on “The Golden Tour”, with supporting act Arts Fishing Club.
Up-and-coming rap artist Lexa Gates just released an incredible new single “I Just Can’t Be Alone.” The song, produced by Billy Lemos, is a beautiful blend of self-awareness, embarrassing frustration, and somber acceptance common in unhealthy relationships. Gates, the Queens NYC native, has a long and rich history with music; her mother taught her music theory and composition as a child and eventually used music to get her through tough times as a young adult.
The harmony of this song is what makes it special. Gates’ voice is as deep as Amy Winehouse and blends beautifully over the rhythm and blues melody. The background vocals add tremendously to the jazzy, old-fashioned feel of the song.“I Just Can’t Be Alone” is very relaxing to listen to, especially on a slow morning or romantic evening alone. For lack of a better term, it is finger-snapping good!
The meaning of the song is exactly as the title insinuates– Gates cannot be left alone. She relies on a lover but hates the emotional turmoil of being in a relationship. She can’t make up her mind…does she want him (or her) in her life? But can she even live without him? From the verse:
“I’m so sick of sleeping in, putting you above everything. Let myself down everyday, I just can’t stay away…”
You can clearly tell she feels suffocated by him and is tired of always putting him first. Later in the song she compares her relationship with him to that of a chess game: she will always lose to him and willingly too because of the unspoken power he has over her thoughts and emotions.
The accompanying music video is downright charming. Gates is seen swaying to the music, wind blowing through her hair, and glancing at the camera every so often. Her background visuals and rose-tinted filter reinforce the vintage feel of the song, as Gates is seen sitting on a queen-sized motel bed, laying on a cream-colored sectional couch, and crouching down in a large soaking tub throughout the video. One impressive fact is that this music video is Gates’ single-handed masterpiece: it was directed, produced, edited, and styled all by herself.
Contrary to the title of their new single, “I’m Not Getting Better”, Canadian pop-rock band Marianas Trench seems to be getting better with each new LP. The track is a tease for an upcoming sixth album to be released later this summer, following 2019’s Phantoms album. It also follows two other lead singles released this year, “A Normal Life” and “Lightning and Thunder” respectively. Marianas Trench has always been an eclectic group with shifting interests, from the emo and punk-inspired sounds of their earlier albums to more accessible electropop styling in their newer work. Despite these changes, they still maintain a consistent identity without categorizing themselves.
These new singles represent the band’s diverse sound, with “A Normal Life” being an ambitious and epic six-minute orchestral pop song, and “Lightning and Thunder” being a new wavey throwback song with lots of glittery synths. “I’m Not Getting Better” continues this trajectory of what will shape up to be a wide-ranged sounding album, with a unique sound with influences from stadium rock, synthpop, and R&B. It’s a vulnerable, emotionally driven song about deeply rooted insecurities, all set to a robotic, stuttering synth beat and a wonderful sing-along chorus. It works because of the sincerity provided by the vocal harmonies provided by the band during the chorus, as well as the confident theater kid energy that lead singer Josh Ramsay gives off in his falsettos. The heavy guitars from Matt Webb add to the sentiments in the lyrics, and the programming on the drum machines keeps the song danceable throughout.
It’s an empowering and inspirational song that’s bound to be a live staple for the band, especially when they embark on their “Force of Nature” tour starting this September. “I’m Not Getting Better”, along with the other two singles, makes Mariana Trench’s next LP one to look out for as it drops later this summer.
