Addison Rae, Alemeda, Babes in Canyon, The Backfires, Ben L’Oncle Soul, Blkchrist, Bluey Thomas, Bobby Freemont, Bria Salmena, Chloe Qisha, CMAGIC5, Couch, Cynthia Erivo, Dinho Dinho, Doechii, Elliot James Reay, Fright Years, Gizmo Varillas, Glixen, Goldie Boutilier, Honeyglaze, Jack Drinker, Jacob Cummings, Jazzie Young, Joan & the Giants, Laci Kaye Booth, LAUNDRY DAY, Lime Garden, Malcolm Todd, Maya Delilah, mercury, Mk.gee, Mon Rovîa, NAVY, NOANNE, Oracle Sisters, The Pill, Rebecca Black, RobinAugust, RORO and Snapir, Rose Gray, Ryder, Sam Robbins, Sebastian Schub, Sofia Isella, Spencer Sutherland, Stevie Bill, Sunday (1994), Sydney Quiseng, Sydney Ross Mitchell, Tessa Violet, Ty Myers, Will Roesner, The Wonderlands, Wynona, Yasmin Williams, Your Arms Are My Cocoon
Every year, we are amazed and humbled by the artists we discover – and 2024 was an undeniably special year for music!
The past twelve months introduced us to a litany of fresh and exciting music makers whose incredible talents, stories, sounds, and voices made them impossible to ignore. Now as 2025 dawns, we look to a year of powerful and promising new music ahead!
Atwood Magazine is proud to present our staff-procured list of Artists to Watch in 2025, in alphabetical order (you can jump directly to an artist by clicking their name above). From buzzy names like Doechii, Mk.gee, and Rebecca Black, to up-and-coming bands like Honeyglaze, Sunday (1994), and The Backfires, and singular voices like Rose Gray, Maya Delilah, Bria Salmena, Mon Rovîa, and beyond, these are the standouts we’ll be keeping our eyes and ears on: The music innovators, sonic trailblazers, rising stars, and game-changers set to define the sounds of the year!
With 2025 just beginning, Atwood‘s worldwide staff takes a look at the 50+ artists who have caught our attention and earned a spot on our music radar.
Mitch Mosk, Editor-in-Chief
2025’s Artists to Watch
Atwood Magazine’s
2025 Artists to Watch
People may dismiss Addison Rae as a social media influencer rather than categorizing her as an up and coming popstar, but regardless, she’s amassed well over 334 million streams (on Spotify alone) across only 4 tracks she released in 2024. Collaborating with the likes of Arca and Charli XCX, Addison Rae is gearing up to take a spot as one of the leading ladies in this subgenre of pop marked by cheeky lyricism and bouncy, alluring production.
Looking at a track like “Aquamarine,” it’s clear that Addison Rae has a strong team around her and I wouldn’t doubt an album of hers in coming this year, one that could very well have a similar impact to many of the pop albums that took over 2024. – Marc Maleri
When Top Dawg Entertainment, the label behind rap and R&B heavyweights like Kendrick Lamar, SZA, and Doechii, signed Alemeda as their first ever pop rock artist, it raised eyebrows across the music industry. Top Dawg keeps a small roster, with only 12 artists currently signed. But what may seem like a bold move for the label makes sense once you dive into Alemeda’s music, with her bold lyrics, powerful vocals, and undeniable knack for storytelling showing the up and coming artist’s immense potential.
In 2024, Alemeda released her flawless EP “FK IT,” featuring her beautifully breathy vocals and unapologetic lyrics on tracks like “… I hate your face” and “I already dug your grave.” Track to track, her point of view gets stronger as the EP builds, leaving you dying for a full length album by the time the EP ends. – Brian Denney
Babes in Canyon, the breezy Pacific Northwest trio of Nathan Hamer, Michelle Nuño and Amanda Ebert, manage to pack a major indie-folk, synth-pop, raucous singalong-type punch into a relatively small outfit. That is, when the band played tastemaking Brooklyn venue Brooklyn Made in the fall of 2024, just Hamer and Nuño lit up the stage, Hamer playing two different versions of the ukulele and Nuño adding plenty of atmosphere via keys and production. It speaks to the idea that there’s so much more than meets the eye with Babes in Canyon, even beyond what the band calls its distinct blend of “big-pine folk.” Consider it music to soundtrack woodsy getaways as much as it is a modern twist on the 2010s folk boom, and keep an eye out for even larger stages (and ideally, new music) in 2025. – Beau Hayhoe
When I interviewed The Backfires this time last year, they were piled up in a van somewhere just outside of Michigan, telling me their favorite Beatles records and the serendipitous story of how they – lead singer Alex Gomez, guitarist Harry Ruprecht, and bassist Matt Walter – met. The songs that would form their forthcoming debut album, This Is Not An Exit, were enduring extensive live tests across the country, each track building rapport with their steadily-growing fanbase. They were one of the most welcoming bands I’d spoken with. I felt their dedication like it was my own, and knew they were headed somewhere great… apart from Michigan!
A year later, four tracks from This Is Not An Exit have been officially unveiled: “Brighter Lights,” “Dressed For A Funeral,” “Replace It All,” and “Turn Off The Lights,” with the full album arriving on January 24. “Brighter Lights” is my personal pick of the lineup, but heavy-hitting guitars and singalong choruses line all four singles. 2025 is the year The Backfires have been waiting for, and every bit of success is theirs for the taking. – Emma Schoors
There’s no place like home – as the many people, including yours truly, who were recently inspired to finally rewatch The Wizard of Oz after the release of Wicked were heartwarmingly reminded— and that’s a sentiment that many musicians can surely relate to, given how touring-oriented their lifestyle tends to be. For Ben L’Oncle Soul, a soul singer from Tours, France who’s been performing for over 20 years now, being home and being onstage have largely become synonymous, and he encapsulates what that feels like quite efficiently on his latest track, “I Got Home,” a doo-woppy multi-instrumental piece that demonstrates just how blissful Ben feels every time he gets to observe “all the people shine when they dance on the floor.”
“It’s an ode to joy,” he says. “There’s nothing like feeling at home on stage, sharing smiles and energy with my audience.” He also promise to deliver more of those pleasant vibes as he further explores “the themes of joy, resilience, and introspection” on his upcoming album, Sad Generation. Despite the project’s title, I’m inclined to believe that that’s just what he’ll achieve. – Josh Weiner
The name Blkchrist serves as a warning for the razor sharp and often outrageous bars the Brooklyn rapper will deliver, with a flow that ranges from explosive to absolutely atomic. On the surface, it’s easy to focus solely on his seemingly endless reserves of energy, which he often puts on display with assistance from the hip-hop collective he created, BROKELAND., as they frequently perform around the five boroughs, inciting very intense mosh pits wherever they go. However, Blkchrist has a depth to his artistry that allows him to flawlessly shapeshift to match any production he’s on.
With an effortless command of melody, Blkchrist perfectly complements the RJ Chase produced track “Diana,” which flips an oldies sample into a head bobbing absolute earworm of a beat. “Diana” is the type of easy-listening rap song that leans into a dynamic subtlety and has the essence of a song that could be played on any occasion, and in any setting. In addition to his solo pursuits, Brokeland released a new album, “Brokeland, Volume 2.,” which in contrast to “Diana,” creates ample moments to absolutely rage. As he did in 2024, I am certain Blkchrist will continue making a wide range of quality hip-hop in the new year. – Ciaran Short
We all know what major waves country music made in 2024; it’ll be up to musical talents both mainstream and emerging to keep that momentum going strong in the new year. Bluey Thomas, a Southern Californian producer, has just contributed to that cause with the recent release of “High for a Reason,” an electric guitar track whose simplicity and gentleness combine to make a moving number about how turning to drugs as a form of catharsis predictably proves to be the wrong move. It’s based on his own experiences – Thomas admits to occasionally “getting high and trying to shut out the weight of my responsibilities, pretending they don’t exist for a little while” when the going has gotten tough – and singing about it seems to be his way of acknowledging he has a problem and needs to redirect himself.
Having long produced for other artists – Post Malone, Khalid, G-Eazy and Fred Again among them – Bluey Thomas is now looking to a make a name for himself as a solo performer. With “High for a Reason,” he’s gotten off to a fine start in that respect, and he’ll get to further prove what he’s made of in a mere month once his debut album, More Than Before, hits shelves. – Josh Weiner
Bobby Freemont is truly a force to be reckoned with. After years of rocking the music world as a record producer, he decided to flip the script and dive into a solo career that’s completely reshaped his artistry. Now, he’s all in – crafting emotionally raw soundscapes and visually stunning projects that showcase his bold, unfiltered vision. In a sea of glossy, overproduced tracks, Freemont’s music stands apart, offering an intimate and immersive escape for listeners. Whether it’s the lyrics, the beats, or the visuals, Freemont’s hands-on approach ensures every piece of his art feels authentically personal and profoundly vibrant.
He has a gift for songwriting penning emotional storytelling to enchant his growing fanbase with his exceptional vocal abilities. With steady releases in 2024, if ‘with the planes’, ‘chase’, and ‘hurt no more’ are any indication of his forthcoming debut album The Death of Bobby Freemont, slated for release later this year, the indie sphere is in for an absolute treat cementing his ever-growing legacy. This year is certainly going to be a memorable year for the rising star. We’re looking forward to following Bobby Freemont in 2025, and beyond. – Danielle Holian
Toronto’s Bria Salmena is poised to be one of the most exciting voices in 2025’s indie rock canon with the release of her debut album Big Dog (March 28th via Sub Pop). January’s lead single “Stretch the Struggle” solidified her place as an artist-to-watch; with fire and fervor, the song roars to life with a seductive sonic heat and emotional intensity that feels as all-consuming as it is undeniable. It’s a fitting reintroduction for Salmena, who has already made her mark as the frontwoman of Canadian post-punk outfit FRIGS and as a vocalist in Orville Peck’s live band. On Big Dog, she emerges as a charged, churning, and charming artist with an unapologetic punk attitude and an uncompromisingly vulnerable disposition.
Salmena has said that her solo debut “chronicles a story of transformation – a deeply personal exploration of resilience and a declaration of artistic independence forged through collaboration.” Her ferocious, impassioned delivery is as inspirational as it is empowering – a kind of invigorating sonic adrenaline that ensures we’ll be paying extra-close attention to the artist throughout the coming year and beyond as she pours raw angst and energy into art that reflects s many of our lived experiences. – Mitch Mosk
Chloe Qisha was an endlessly exciting watch in 2024. Releasing her self-titled EP last year, the project spanned an impressive take on the alternative indie-pop genre. Qisha arrived ready to break all the formalities of genre and performance, leading with raw vocal performances and expansive production qualities. “I Lied, I’m Sorry” was atop everyone’s indie playlists last year, fronted by that now-familiar cover photograph of Qisha – stood still, authoritative, and powerful. And that is how she will be, driving forth into 2025. – Rachel Leong
Toronto-based artist CMAGIC5 is known for dropping banger after banger, and as she kicks off 2025 with her new single “Happy Never After” she’s solidified herself as an artist to watch this year. Staying true to her addictive and energetic sound, it’s evident that the young songwriter has perfected her concoction of fiery pop/rock, with a hint of punk and a whole lot of confidence. Her lyrics stand for celebrating your most authentic self, as she refuses to comply with society’s unrealistic expectations. “Happy Never After” for example, delves deeper into this, as she breaks the mold of traditional fairy tale romance, and instead applauds people for walking away from their toxic ex-lovers.
CMAGIC5 is the modern-day Avril Lavigne, with powerful vocals that demand attention and a bold, contagious charisma that’ll keep you coming back for more. We could all learn a thing or two from the fearless attitude she exudes. – Joe Beer
Seven-piece band Couch, led by the powerhouse that is Tema Siegel, is a genuine artifact of a group, having easily stole the show on the Cory Wong tour this past fall. Understanding that connection is key, and joy is contagious, the group combines academic prowess and integrity, a non-individualistic outlook of performing, and a genuine love of the craft, resulting in an instantly indelible presence on any stage. – Noah Wade
Not only is Cynthia Erivo the star of the adaptation to one of Broadway’s most beloved musicals, Wicked, but she is also an inspirational and powerful singer that is only an Oscar away from being an EGOT winner – something only a few artists have ever accomplished. Therefore, something fans are looking forward to is her upcoming album, set to be released this year and her first new album since Ch. 1 Vs. 1, her debut album released back in 2021.
The twelve tracks of Ch. 1 Vs. 1 are vulnerable, powerful, and a perspective of Cynthia’s love, heartbreak, family, and growth. For instance, “Alive” is a very inspirational track accompanied by piano, strings, and harmonies, in which Cynthia sings about overcoming and accepting the past in order to learn and transcend. Knowing the important messages she delivered to the world in her 2021 album, it is surely exciting what we will be listening to from the British singer this year. – Bárbara Martínez Campuzano
DINHO DINHO’s new album, When I Fall, plays like the soundtrack to a movie. Like any good movie, it’s rich with moments you’ll need to revisit over and over again to fully experience the richness of the project. On this album, the band has honed their sound and with a series of performances lined up to support the record, I’m sure DINHO DINHO will reach new heights in 2025. Some standouts from my initial listens were “Heat,” “Off The Record,” and “Astray.” It felt like an intentional balance was found between calm and contemplation while maintaining an alternative edge that separates lead singer Shaan Ken Rao and his bandmates from the sad boy trap that often swallows up many bands wading into the waters of the modern rock scene.
Listening through When I Fall is like following a coming-of-age story. There’s an earnestness in Rao’s vocals that make you root for him as the protagonist throughout the musical journey of swells and dips. Each song has an emotional arc that paints a clear picture yet the subject matter remains accessible enough to make the songs equally memorable and auditorily engaging. DINHO DINHO harks on a level of nostalgia, dipping in and out of the realms of bands such as Vampire Weekend and The Strokes. Yet the vocal delivery is clearly influenced by the dominance of hip-hop in popular music with cutting and catchy lyrics. This stylistic combination results in a sound that feels unique to the band. I know When I Fall is going to be heavily in my rotation this year. – Ciaran Short
While Doechii has been putting out tracks since 2018, nothing could’ve prepared us for the masterpiece that was Alligator Bites Never Heal, her dynamic, soul baring, sonically addicting sophomore album. From the corporate siren aesthetics to the ’90s infused rap, Doechii dropped a piece of art that made an unforgettable impression on listeners. With an incredibly successful appearance on NPR’s Tiny Desk concert series, collaborations with music industry majors like Tyler The Creator and SZA, Doechii’s notoriety and relevance in the cultural zeitgeist is on track to skyrocket in 2025.
“DENIAL IS A RIVER” perfectly encapsulates Doechii’s aura: a confident, shameless, brutally honest artist that isn’t afraid to take risks that pay off. Chronicling 6 years of chaos in under three minutes through a portrayal of inner dialogue, if “DENIAL IS A RIVER” is any indication of the kind of music Doechii has in store for us, then I have no doubt she’ll breaking records and selling out massive venues in no time. – Marc Maleri
With just two songs released, Bury, Greater Manchester, England-born singer/songwriter Elliot James Reay is primed for a busy and triumphant 2025. Reay burst onto the scene with “I Think They Call This Love,” a musical homage to the likes of Elvis and Roy Orbison, this past summer, and the tune has, to this point, garnered over 65 million streams on Spotify. Follow up “Boy In Love” is, while less theatrical in its approach, a tighter, more efficient look at Reay’s buttery baritenor and propensity for the simplest of structuring.
Reay, a dedicated savant of this style and era of music, as displayed in his YouTube covers (though none pleads his case more than a phenomenal rendition of, arguably, Elvis’ most challenging song, “If I Can Dream,”) and music videos, is unreasonably natural in all aspects of his performance. From fashion to physicality to tone of voice, Reay shines as one of the few to, in this manner, wear his influences on his sleeve without assassinating his credibility and authenticity for the sake of cheap nostalgia. – Noah Wade
Edinburgh indie rock band Fright Years spent 2024 dazzling listeners, myself included, with a steady stream of intoxicating, sonically charged singles – each of which seemingly hit harder than the last, highlighting the four-piece’s ability to channel their innermost thoughts and feelings into catchy, all-consuming singalongs rife with intense feeling. Their messy, sweaty breakup anthem “Blue” became an instant personal favorite upon its release in March, its energetic chorus inevitably delivering an uncompromising moment of all-consuming cathartic release. The spectacular “Stars” and cinematic “Aftersun”– produced by Theo Verney (English Teacher, Lime Garden) – arrived in the fall, previewing a new (as-of-yet unannounced) project, likely an EP, to drop this year (a third single from the set, the pulsating, bass-driven “Do What You Wanna,” released this January). With a penchant for heart-on-sleeve lyrics, dynamic performances, and exhilarating refrains, Fright Years are undeniably an artist-to-watch in 2025 and beyond. – Mitch Mosk
A longtime favorite of Atwood Magazine‘s pages (and a former Atwood Editor’s Pick), Gizmo Varillas is a beacon of light, love, and warm, wondrous sound. The Spanish-born, Brighton-based singer/songwriter has been active for over a decade now, and yet it’s with the lead-up to his fourth studio album The World in Colour (out March 21st, 2025 via Sonteca Records) that he has positioned himself as an undeniable artist-to-watch this year. Singles like “Ojos Nuevos,” “Follow the Sun,” “Crossroads,” and “Into the Night” highlight his penchant for bridging the physical and spiritual worlds in his music, putting his heart and soul on display through vivid poetry while delivering dreamy, sun-kissed music full wonder and evocative, intimate feeling.
Varillas’ story is a reminder that hard work, patience, and trust in one’s craft do pay off. Audiences across Europe have already shown him quite a bit of love over the past year, throughout which he played to sold-out venues (including bars, clubs, theaters, and ancient amphitheaters) all throughout Europe, and sold more than 10,000 concert tickets. An upcoming 2025 UK and European tour commences at the end of April, and will find him performing in seventeen cities across the continent before May’s end.
In short, the Gizmo Varillas bandwagon is already in motion, and while I’ve admittedly been on it for quite some time, I’m also happy to keep ‘singing’ his praises every chance I get. As I wrote in a recent song premiere, “Gizmo Varillas invites us to welcome all that this one life – an invaluable, precious gift we’ve been given – can provide us: The good and the bad, the beautiful and the ugly, the highs and the lows and everything in-between. He inspires us to dive headfirst into the unknown; to live bravely and boldly, venture out of our comfort zones, and soak in the full spectrum of possibility. He reminds us that there is beauty in everything, so long as we’re looking for it.”
And isn’t that the kind of music we should be elevating? – Mitch Mosk
2025 looks incredibly promising for shoegaze. Both julie and Wisp are following major label debuts with midday sets at Coachella, though I’ve got my eye on a band that’s squeezed further down on this year’s poster.
Not that Glixen aren’t on the rise. Since rising above Phoenix’s suburban desert, the band have been hot on every blogger’s tongue thanks to an endorsement from shoegaze’s chief tastemaker and tours supporting unsuspecting Gen Z icons as well as indie rock’s most dapper elder statesmen. When I wrote about them last year, I teased that they were the closest this new wave has come to sounding like My Bloody Valentine.
Glixen only prove how shallow that comparison truly is on their upcoming EP. The first official taste of Quiet Pleasures stirs with all the dreamy anticipation of a first kiss, but the rattle and hum of their guitars will wake up your entire neighborhood. “lick the star” is powered by the same dynamic that transformed the ’90s grungiest rockers into unlikely superstars. “I want more, do you hear?“, Aislinn Ritchie sighs amidst crushing cymbals, though I think she’s just playing shy for the camera. That this band are about to blow up comes through loud and clear. – Will Yarbrough
Succinctly put, Goldie Boutilier is a treasure. Between her lyrical storytelling and her captivating delivery- her music is spellbinding. Her voice exudes an old-soul energy comparable to the essence of Dolly Parton while being wholly original and not without a bit of edge. Boutilier conveys a convincing sense of rustic timelessness in her music while balancing it with refreshing, sincere, sometimes melancholic, and often introspective narration.
This French-Canadian singer expertly combines all the magic and glamour of old Hollywood aesthetics with the addictive resonance of 60s Americana into dazzling little tunes that explore an array of emotions and experiences. There isn’t a bit of Goldie Boutilier that isn’t completely enrapturing, it’s the full artistic vision between accompanying visuals, atmosphere, and of course, the music that solidifies her as an artist to keep an eye and ear trained on. – Brianna Corrine
When I heard “Pretty Girls” by Honeyglaze for the first time, I had a strong feeling they were going to come out the gate swinging. It’s the opening track on their second album, Real Deal, released last fall. It has a lot of smart social commentary and some great feel-good indie rock vibes. It has a raw feeling, in both production and lyricism. Singer Anouska Sokolow has such a great vocal delivery, weaving her singing with flourishes of plain talking that sound like spoken-word poetry. They blend 2000s indie rock with modern commentary, creating something at once chronologically identifiable and timeless.
“Pretty Girls” uses a repetitive style of lyrics that make it earworm-worthy: “Slip / For a second, I slip / Old habits die hard when I’m ready to slip.” This is used to great effect throughout the song. This is a track that confronts and dissects the social expectations and categorizations that are foisted upon us, and the way that these ideas pit us against each other in various ways. The percussion is tight but jangly, the guitars perfect accompaniments to Sokolow’s sometimes self-deprecating or deadpan vocals. This combination makes it a fun romp of an indie rock track, especially when buoyed with the background harmonies from bassist Tim Curtis and drummer Yuri Shibuichi. Across Real Deal, Honeyglaze embraces noise and chaos while maintaining the slightly softer, dreamier sound that originally put them on the map. – Kendall Graham
Los Angeles based indie pop artist Jack Drinker provides relatable anthems that will connect with listeners from all walks of life, no matter what they are going through. Covering everything from mental health, relationships, body image and loss, he isn’t afraid to speak about the hard stuff in life. In fact, his music acts as a therapeutic release, both for the songwriter and his audience, as he provides an outlet for life’s hurdles and reminds us that we’re all on this rollercoaster ride together.
His most recent single “California King” touches on love and heartache, as we witness the songwriter battling with head vs heart. He’s intoxicated by the feeling of love, but aware that the person he has fallen for might not be the best suitor and that he shouldn’t get carried away with the fairytale. His honesty is addictive and combined with his captivating melodies and powerful vocals, you’ll find yourself hitting repeat time and time again just for another dose of his feel-good music! – Joe Beer
Every once in a while, you come across an artist whose music doesn’t just touch your taste but also your heart. And that’s what discovering Jacob Cummings felt like in 2024. Releasing his latest record Southern & Enlightened late last year, the album is an ode to childhood memories and family ties. Bridging the gap between past, present and future, Cummings’ work strives for understated perfection – achieving this with meticulous composition and layers of intentional creativity. From writing the music at his late grandmother’s house, shortly before it got demolished, to addressing themes of youth, passing and innocence in the music – the conception of this record was truly special, through and through. – Rachel Leong
Jazzie Young’s music may not be all be as “jazzy” as her name implies (not a whole lot of saxophones in earshot for now, at any rate). But there are plenty of other adjectives that do describe her creative output more legitimately – “ethereal,” “beautifully sung” and “upbeat” all come to mind. Nearly four years removed from her debut EP (2021’s grown up & grown apart), this talented singer based out in Los Angeles is ready to keep breaking new ground in the new year. She’s just gotten things started with the release of her first single of 2025, “Waiting On You!” – an indie rock track she says is meant to encapsulate “the stomach butterfly feelings you get when you like someone but aren’t sure how they feel about you, so every interaction has a loaded energy to it.” Her upcoming solo debut album promises to be plenty charged with energy in its own right – I’ll be keeping an eye and ear out for it! – Josh Weiner
My favorite Australian indie pop band for quite some time now, Joan & the Giants deliver big emotions with big melodies. From the unrequited ache of “BEG” and the love-soaked cheer of “Good Time,” to the feel-good charm and raw churn of their latest single “How Could You?”, the four-piece from Boorloo (Perth) blend the catchy and the cathartic with a tender, triumphant finesse. Recent features – both of the tastemaker variety, and as tour openers for some major artists (P!NK, Tones & I) – mean that Joan & the Giants are positioned for a breakout 2025, and one can only hope that means more songs – and maybe even a larger project – are on the horizon: They’ve been on a singles kick for three years now (their last EP, Me & You, released in 2022), meaning it might be time for a fresh longform record culling together the best of their best from the past few years.
Needless to say, the future looks extraordinarily bright for Joan & the Giants, and I can’t wait to hear wherever they go next. – Mitch Mosk
Last year saw Laci Kaye Booth release her debut album The Loneliest Girl in the World, a soulful country record produced by Ben West. The record is a breath of fresh air in a genre dominated by mediocre bro-country and problematic singers throwing chairs off rooftop bars. Booth brings a realness and authenticity to the table of country music. Booth and West created a very special record that pushes the boundaries of country lyricism, and showcases a complete female perspective, something that is often missing from American country music. Given that this is Booth’s first full-length record, a record that has been critically acclaimed and exists in its own timeless genre, I for one, can’t wait to see what Booth has stowed away in her guitar case in 2025. – Emily Algar
From hooks habituated for rom-coms from Cry Baby, to riffs rivaling Hot Fuss-era Killers from The Backfires, New York City is currently inhabited by some of the country’s finest indie-rock groups. Among these is LAUNDRY DAY – comprised of vocalist Jude Ciulla-Lipkin, vocalist and drummer Sawyer Nunes, bassist Henry Pearl and guitarist Henry Weingartner, the band formed in 2016 at Beacon High School and immediately took to SoundCloud to share the fruits of their artistic chemistry. Since then, they’ve traversed the country byway of sprinter van, released five albums, and recently kicked things up a notch with 2024’s “Damn Shame.”
The tightrope they walk on this track is made thinner by desire, and the physical ache that accompanies “what if.” Sugary harmonies climax with a discography-propelling bridge: “I can’t cry out, that’ll take some time / Even when I wanna shout, oh, I / On the 405, lookin’ for an easy way out.” Even when we “don’t know a damn thing,” we feel it – that’s how we know 2025’s going to be LAUNDRY DAY’s year. – Emma Schoors
Lime Garden released an excellent debut album roughly one year ago. One More Thing launched the Brighton, U.K.-based band into the indie rock stratosphere. The band, comprised of vocalist Chloe Howard, guitarist Leila Deeley, bassist Tippi Morgan and drummer Annabel Whittle, have a highly-compelling level of synergy that’s allowed their witty lyrics. They cast off the cliches about female bands by bringing interesting production choices and a sort of cavalier attitude to their music.
They run the subgenre gamut from garage rock to shoegaze, and seem like they’re having the time of their lives doing it. “Nepotism (Baby)” delivers a kind of mic-drop moment on the titular debate with lyrics that are as incisive as they are humorous: “She’ll show you how to live like you’ve never known / She’ll get your name out and around like it’s all a show / Even though you know the heart she has is gold / You can’t help but feel the stare they glare is cold.” I can’t get enough of it; the chorus is endlessly catchy. Lime Garden’s debut shows a clear passion for combining hooky, smart songwriting with more traditional indie rock sounds, though their experimentation with softer sounds and styles is equally as memorable. – Kendall Graham
2024 was the year for rising R&B artist, Malcolm Todd, with his first sold out headlining tour and multiple hits. Sweet Boy, his debut studio album was a massive success, catching the attention of music lovers nationwide. With catchy melodies and a unique sound, Todd is bound to have a successful year in 2025.
The artist’s rapid growth in popularity is due to his genius social media marketing skills. A multitude of his tunes grew in this way, making his latest single “Chest Pain (I Love)” no exception. The track is upbeat, infectious, and bound to be stuck in your head. Todd has continued to show listeners his dedication and consistency. 2025 will be no different, setting him up for success in the near future. – Miranda Urbanczyk
There’s a clear reason that 24-year-old Maya Delilah ended up signing with legendary jazz label Blue Note Records: Her musical journey from 2020 to 2025 has been one filled with lush harmonies and polyrhythms, soulful grooves and soul-stirring, shiver-inducing vocal performances. The singer/songwriter and multi-instrumentalist from North London is set to release her long-awaited debut album after five years’ worth of consistently mind-blowing, breathtaking releases, and the scene is set for a breakthrough. Releasing March 28th via Decca/Blue Note/Capitol, The Long Way Round highlights Delilah’s undeniable talents as a singer, a songwriter, a guitarist, an arranger, and so much more – all while seamlessly incorporating elements of jazz, pop, country, blues, funk, soul, and more into her singular art.
The smoldering “Begin Again,” set to be the record’s opening track, is the kind of song whose rich tapestry of sound sends shivers down the spine. “Squeeze,” the record’s latest single (released in January), is an irresistibly propulsive and sweaty revelry driven by red-hot basslines, tight drum work, and fiery guitar licks rife with passion and fervor. The Long Way Round promises to deliver an elevation, or rather an evolution of Maya Delilah’s already bold and beautiful artistry; if she wasn’t already on everyone’s radar in 2024, 2025 will be the year that changes for good.
For a band named after the smallest planet in our solar system, mercury boast a massive sound. The Nashville-based alt-rock project founded by Maddie Kerr is at once unapologetic and uncompromising, their music an invigorating mix of deep vulnerability and feverish, fiery sound. mercury have been a personal favorite of mine for years (a bunch of their earliest music is no longer available online, sadly) – but it’s on their most recent material that they’ve really turned up the heat. Two three-track EPs released in 2024 – June’s Together We Are One, You and I and December’s Sarm the Hive Mind – find mercury at their loudest, their heaviest, and their most vulnerable.
When I caught up with Kerr last summer, she was particularly excited to show her growth and maturity as a songwriter to audiences via mercury’s newest music – and shared a particularly affinity for how raw the latest songs feel to her. We’re kindred spirits in that regard; unfiltered vulnerability and uncompromising intensity are what mercury do best, and I cannot wait for whatever 2025 has in store for this special band. – Mitch Mosk
Last year, Mk.gee climbed to music’s highest diving board and stuck an impossibly perfect landing with Two Star and the Dream Police. He reached out like a hand from the dream realm on “Are You Looking Up,” questioned the validity of a whirlwind romance on “Alesis,” and cried with the enormity of his desire on “I Want.” Through it all, he sang of a small town and a couple longing to break wildly from its hold. It was one of the year’s best records. Following it up with something on par seemed impossible, until he unleashed “ROCKMAN” in October – proof he could pull any and all stops come 2025.
“ROCKMAN” is axised on a pulsating, seductive riff, equal parts Michael Jackson’s “Dirty Diana” and The Police’s “Don’t Stand So Close To Me.” Beyond the tantalizing demands he pounds out in its verses, his voice is plagued with desperation, weakened by the hold the subject matter has over him. He feigns control, orders his “honey” to “shut up and ride,” but it’s her that “started a war,” and it’s her that can put it to an end. Whether this tension is built upon or finally broken is up to the listener. As goes most of Mk.gee’s songs, the questions are the story — a soundtrack fit for drudging ourselves out of hell and towards the stars. – Emma Schoors
Mon Rovîa has spent the past two years establishing himself as a singular voice in the contemporary American folk space, all while slowly unveiling a very special four-part EP series centered around the Hero’s Journey. With the release of Act 4: Atonement in early January, that ambitious project has now come to a close – leaving the world with a trove of intimate, relatable, and achingly beautiful folk songs that warm the ears just as they do the heart.
From the soul-stirring fragility of “To Watch the World Spin Without You” (featured on Act 1: The Wandering) and the gentle, glistening glow of “City on a Hill” (taken off Act 3: The Dying of Self), to the dreamy depths of “Dead Man Walking” and “crooked the road.” (both featured on Act 4), Mon Rovîa’s oeuvre is as sonically soothing as it is breathtakingly human – with a little something for everyone. The Liberia-born, Chattanooga, Tennessee-based singer/songwriter is now working on a full-length album that he hopes to release later in 2025, making this the perfect time to catch up on his past material while getting ready for all that’s to come! – Mitch Mosk
Hailing from Sheffield, NAVY are a brilliant four-piece band whose music is rooted in rock though they also lean into and sport a bit of alternative flair. They are authentic and wholly alluring in their craft. While young in their careers and still carving their path, these lads undoubtedly have a blinding future ahead of them, with a gritty, enveloping vocal tone on the part of lead singer- Oliver Graham, delicious guitar licks by George Craft, addictive bass lines from Matthew Jones, and the striking drums of Kyle Marriot, they are sure to go far.
There is something classic in the band’s presence and in their sound that resonates resolutely, which is of course supported by their honest lyricism. That said, NAVY, while being singular and brilliant in their own right, are reminiscent of other great acts like The Lathums, Inhaler, Wunderhorse, and Been Stellar. – Brianna Corrine
2024 saw NOANNE release a plethora of singles on the lead up to her debut EP. With the quality of her work to date, and amount of awards she has under her belt for her incredibly captivating visuals, we can only anticipate that the release of the EP this year will make the Prague-based artist one to watch in 2025! You can tell that so much thought and time go into everything NOANNE does. From the storytelling lyrics and polished production to the visuals that look like they’re straight out of a movie scene, every minor detail is painstakingly perfected by the artist.
Her most recent single “Jack You Up (If My Blade)” shows the lyrical depth she possesses. Offering an empowering anthem about a woman on a mission to reclaim her own narrative, NOANNE delves into the intricate themes of love, power, and revenge. NOANNE’s ability to weave emotion into every song, paired with her stunning visuals and powerful messages, makes her a standout artist to watch in the coming year. – Joe Beer
The sweet harmonies of Paris-based trio Oracle Sisters are their strongest asset. They garnered immediate attention at their formation in 2017 for their poetic lyrics and laid-back, folk-pop-psychedelia crossover musical style. Their music brings to mind sweeping, pastoral landscapes, and the sensation of traipsing through a quaint village square on a sunny afternoon. Their 2020 EP, “Paris I,” shows them at their finest, combining mysticism and spiritualism with tinges of romance.
Whether they’re focused more on straightforward pop or fluttering acoustic, Oracle Sisters are adept at weaving their multitude of influences into a unique tapestry of sound. Their second album, “Divinations,” releases Feb. 14, and is preceded by singles “Alouette,” “Riverside,” and “Blue Left Hand.” The percussion of “Alouette” is light-footed with enchanting strings and 90s based jangle-pop guitars. The vocals of members Lewis Lazar, Christopher Willatt and Julia Johansen combine in a featherlight dreamscape that buoys the ethereal pop production: “Out in the garden / The pirates sing their song / The owls and the artists / And they always sing along.”
“Alouette” is a sign of the energetic boost taking place in Oracle Sisters’ new music. In support of “Divinations,” they will extensively (and exclusively, for now) tour Europe and the U.K. in the spring. The strength of their music and the connection that makes any of it possible has me very seriously considering (read: fantasizing about) hopping a plane across the pond to catch one of the shows. Adopting the Brazilians’ famous mantra, “Come to the U.S.!” – Kendall Graham
This English indie punk duo delivers music that contains playfulness, rhythm, and even chaos, which instead of resulting strange actually makes this one of the band’s most vivid characteristics. Lily Hutchings, guitar, and Lottie Massey, bass, share vocals and sing to lyrics that are fun, aggressive, and rebellious. Their work has invited magazines and critics to unavoidably compare them to Grammy nominated band Wet Leg. Moreover, this year, The Pill will be touring in the United Kingdom and even the Netherlands.
Not only is this band known for their chaotic and rare energy, but also for the issues explored through their lyrics, creativity, and humor. They take stereotypes or general ideas about womanhood, such as in the song “Woman Driver,” with witty lines and phrases that, although sometimes uncomfortable, are just right. – Bárbara Martínez Campuzano
In 2024 we saw one of the most exciting years for pop music, with a level of unpredictability that constantly kept us guessing who would top the charts week after week. Charli XCX reached the peak of her career with the club-forward sound of Brat, while viral TikTok star Addison Rae shocked listeners by putting out one of the most critically acclaimed singles of the year in “Diet Pepsi.”
Heading into the new year, in comes Rebecca Black.
With a cult-like following, and an impressive track record of independent releases under her belt, Black’s upbeat glitchy sound has never been more culturally resonant than it is today. On the heels of her viral Boiler Room set, it’s clear that she has momentum – but the polarizing ‘Friday’ singer also has quality going for her. In “Sugar, Water, Cyanide,” the second single off her upcoming album Salvation, Black’s distorted vocals roll seamlessly off the song’s perfect, high-speed beat. If Black’s infamous 2011 track “Friday” taught us one thing about her, it is that she has a knack for putting out music you cannot get out of your head. With an authentic, and in-demand sound, and a series of electrifying singles kicking off her new era, she is certainly one to watch out for in 2025. – Brian Denney
As we head into 2025, RobinAugust is without question one of the most inspiring, promising, and intriguing new artists on the rise. In short, her music leans in the whimsy-goth, alternative/indie direction. Sonically, she possesses the nerve of Fiona Apple with the force of Hayley Williams and the enchanted nature of Ha Vay. Her music is seductive and akin to that of Suki Waterhouse, though RobinAugust allows her Nashville roots to come through as, in much of her discography, a slight blues edge can be found.
Her latest single, “Kiss Where It Hurts” is a prime example of her talent and her ability to blend genres seamlessly with her velvet vocals and touch. It’s a haunting tune that shows a new maturity and understanding of composition intricacies, that contrasts starkly with her previous solo projects, but is nonetheless, a clear sign that we should all be on our toes in hopeful anticipation of some new music from her in the new year. – Brianna Corrine
Over the 10 years (woah!) that I’ve been writing for Atwood Magazine, it’s fair to say that Sweden is the Scandinavian country whose music scene I have covered the most often. But I’m always happy when the region balance gets shifted a bit and I’m able to report on artists from the other four nations in that collective. The most recent example of that is RORO and snapir, an electronica act from Helsinki who started 2025 off strong by releasing their first collaborative album, COLORS LEFT. They represent an appealing Jedi-Padawan sort of duo, given that RORO is the founder of the indie label Booa Music and snapir is one of his multiple signees; COLORS LEFT is the first full-length sequence of them producing alongside one another.
Over the course of these seven songs (or six, plus the 39-second staticky snippet “What After”), RORO and snapir display their remarkable in-studio chemistry quite convincingly, generating multiple doses of enjoyable and immersive EDM music. “”Our goal was to create a soundscape that represents emotional rebirth,” say the two Finnish friends. “Each track is a deliberate exploration of bringing color back into a monochromatic experience.” Starting with “Tehran Jewel” and continuing on through the title and closing track, these two guys manage to achieve that goal quite convincingly, given that every song they come up with features distinct personality and energy. Having started 2025 by releasing COLORS LEFT, I wish them plenty of success performing, promoting, and following up on it over the remaining 11.5 months of the year. – Josh Weiner
Every time I hear Rose Gray’s music, I turn the volume up. Perhaps that’s the inspiration behind the title of her new album, Louder, Please, a dynamic debut record that combines catchy bedroom pop lyrics with unforgettable disco beats.
At 28 years old, the London based singer has all the right musings to make her the next great pop star – from a high profile relationship with A-list actor Harris Dickinson, to big name collaborations with pop hitmakers like Uffie. But what really makes Rose Gray one to watch in 2025 is her ambition – which is evident throughout the boldness of high production tracks like “Angel of Satisfaction.” It takes a lot of effort to make pop music like Gray, and a lot of talent to make pop music this good. – Brian Denney
Though still in its infancy, Long Island, NY-based hard-rock band Ryder show significant promise right out of the gate. Lead singer James Ryder proves himself as a commanding presence on tunes such as “Southbound” and “One Eye Open,” the former succinct and hard-hitting and the latter more theatrical, even Three Days Grace-like, though has not yet accessed or showcased the full breadth of his vocal ability. Fellow members Max Knight (guitar), Nick Bavaro (drums), and Rod Viquez (bass) add weight and gravitas to the recordings, and similarly to Ryder himself, seem to maintain 99.9% effort while withholding their most coveted tricks for later use. – Noah Wade
With all the division in the world, now more then ever it’s so vital to demonstrate kindness. This new year, I think a great goal would be to spread the love and give back to others. That’s why Sam Robbin’s single “What A Little Love Can Do” truly speaks to me. The stunning song is all about laying out love amidst chaos and termoil. Robbins returned home after almost a year spent on the road, only to discover there had been a shooting near by. It was bittersweet. He had just come back from an amazing trip, but felt awful about the news he learned. That day while home alone he was inspired to write this touching track. The delicate piano and acoustic guitar paired with his warm, passionate vocals make for a highly powerful piece. I look forward to hearing more from the young artist. – Chloe Robinson
It’s not often an artist’s first song expresses everything they could want to say right off the bat. Sebastian Schub is, in that respect, one of the lucky ones: The German-born, London-based singer/songwriter’s major label debut single is a defining, seminal mission statement – an emphatic, emotionally charged declaration of intent full of fire and fury, unfiltered passion and raw, visceral feeling. Released in October, “Sing Like Madonna” is a breathtakingly bold folk rock fever dream – and a real-life “breakout” story in the making: Following years of busking and gig work as a function and session musician, he was reaching his breaking point, unsatisfied with where he was in his career, with the dream of “making it” in music feeling all the more elusive and dreamlike. So like any great songwriter, he poured his angst and anxiety, and all that inner turmoil and tension, into a song. The resulting tune aches from the inside out, capturing both the pain Schub was feeling at the time, as well as his unwavering passion for his chosen craft. It’s catchy and cathartic all at once – and when Schub posted a snippet of the song to social media, people quickly caught on. The rest, as they say, is history.
Schub has thus far only released one other single – the bittersweet and brooding ballad “I Can’t Believe We Never Went Out Dancing” – and yet it’s clear that he’s destined for greatness. Co-produced alongside Steve Fitzmaurice (Sam Smith) at RAK Studios in London, “Sing Like Madonna” is not the “beginning” of Schub’s music career – far from it, in fact – but it is the start of a bold new chapter in his story, that he will be sharing not just with passersby on London’s busy streets, but with the whole world – anyone who cares to tune in, from far and wide.
And while we wait for all that’s to come, we can keep basking in the uncompromising, unapologetic eruption of desire and unflinching determination that is “Sing Like Madonna” – a sonically and emotionally charged anthem filled with hopes and dreams, and the perfect introduction to Sebastian Schub. – Mitch Mosk
Provocative, aware, and electrifying- Sofia Isella is utterly remarkable. Her genius is all-encompassing, from lyricism to production. Simply put, her music is flawless. She attacks and addresses real subjects of turbulent debate in society with a ferocity that smoothly executes a call for reflection and change. As an artist, she is bluntly poetic and uncompromising and she unfailingly delivers a swift blow to each of her conquests and creates art that beautifully disturbs the norm.
At just 19 years of age, Sofia Isella is already proving that she is an artist like no other. Not only is she classically trained in violin, a guitarist, producer, and songwriter, but she’s beyond brilliant at it all, as well. With her first EP under her belt (a rousing success, not to mention), what’s to come is practically guaranteed to be awe-inspiring and profoundly evocative. – Brianna Corrine
Hot on the rise right now is Spencer Sutherland, an artist who went viral in 2024 for his glamorous world building around his music. He stayed in the peak of virality all year, releasing his latest record, The Drama. It’s an ambitious glam rock concept album – with the storytelling of Queen, and the flair of Elvis. The record isn’t just a musical success, but also encapsulates a world of pretty things, electrifying narratives, and a more-than-satisfying musical experience overall. Leading with authentic sonic leads, a close community with his fans, and unmatched style, following his musical journey since we met has been exciting – not just as a fan but a music lover overall.
As Sutherland gears up for his early 2025 tour, it’s clear that The Drama never ends, and we can’t wait for more in 2025. – Rachel Leong
Stevie Bill is as charismatic, as charming, and as unfiltered in real life, as she is in song. The Dutch artist’s sophomore EP I was a platinum blonde – released last fall – is a stunningly dreamy, achingly intimate, and beautifully vulnerable exploration of self-discovery through a young adult’s lens – and its six songs served as my own spellbinding introduction to the New York City-based singer/songwriter.
Highlights abound on the journey from tender title track “Platinum Blonde” through “Hahaha,” the visceral and spirited “Hurts to Hold On,” and ultimately the cathartic closer, “Bodies.” “Lalala,” the EP’s final single (released in early August), is a definitive standout; an irresistibly catchy and carefree anthem (named after the Kylie Minogue classic “Can’t Get You Out of My Head”), it’s a a seductive celebration of music’s special ability to empower, inspire, uplift, and enrich our lives. “And it goes just like this, sing it with my lips like, la-la-la-la-la-la-la-la,” Bill sings, deep in her own sun-kissed daydream. “And I swing with my hips and I blow you a kiss like la-la-la-la-la-la-la-la.” And just like that, we’re hooked.
Then, of course, there’s “Hahaha,” which was named one of Atwood Magazine’s Songs of 2024: Between the celestial warmth of Bill’s stunning falsetto, the infectious energy of her melodic guitar work, and the raw ache embedded deep in her songwriting, the indie pop artist won me over instantly with her infectious breakup anthem. As charming as it is churning – and incredibly creative – “Hahaha” is one of those broken-hearted confessionals that lifts you to greater heights, even as Bill dwells in her own achingly intimate depths.
As she unpacks themes of change inside and out, Stevie Bill dives into what it means for our most cherished relationships to evolve; for us to let go of loved ones and leave memories behind us as we grow and evolve. The end of 2024 and beginning of 2025 saw Bill further building out her dreamy indie pop world, first with the Christmassy “Winter is the best season for biking” and more recently with the gorgeously seductive “Fan,” a warm and wondrous song soaked in longing that just might eclipse “Hahaha” for my favorite… we’ll see. Needless to say, I’m entering 2025 with Stevie Bill on repeat, and you should, too! – Mitch Mosk
Rooted in human connection, vulnerability, and real, raw emotion, Sunday (1994)’s dreamy pop songs capture a side of love not seen on the big screen. Hailing from both sides of the Atlantic (and signed to major label Arista Records), the trio debuted less than a year ago – late February 2024 saw the release of their first single “Tired Boy” – and have quickly become a “need-to-know” name on plenty of radars – ours included. Their six-track self-titled debut EP, released in May, showcases an instantly alluring, nostalgic, and achingly emotive sound that calls to mind both ‘90s dream pop pioneers like Mazzy Star and contemporary trailblazers like Alvvays. In addition to the breathtakingly evocative “Tired Boy,” further highlights include the invigorating, impassioned “Stained Glass Window” and the provocative, all-consuming “Blonde,” a truly heartrending ode to the post-breakup reeling: That turbulent, terrible imbalance we feel when our worlds get completely, utterly shattered.
Just a few months after their EP’s release, the band released an expanded, 9-track album’s length record – the aptly-titled Sunday (1994) [Deluxe] – adding the songs “TV Car Chase,” “Softly,” and “Blossom” to an already stunning early repertoire. Their debut headline tour is scheduled for this May, with nine dates in the UK and two in the Netherlands – meaning the excitement that was their 2024 is sure to continue well into 2025 as they strive to capture the magic of their studio releases live, on stage, and beyond. – Mitch Mosk
Sydney Quiseng, the frontwoman of the indie pop band Echosmith, decided to go her own way in 2024, with the release of two singles, “Wonder” and “Guilty.” Both inquisitive songs about relationships, life, and being brave. Quiseng had already written over 65 songs when I spoke to her at the end of 2024, and hinted that the two singles were part of longer project.
Quiseng is already known as brilliant vocalist, musician and writer from time within her band. As someone who is relatively new to Echomsith’s music, I’m intrigued as to what Quiseng’s solo project is going to sound like in 2025! – Emily Algar
I first caught wind of singer-songwriter Sydney Ross Mitchell because of a chorus whose lyrics slacked my jaw – “Somehow, I am sure that I could come from just your mouth over my ear / You have eyes just like a baby animal / And all my fear that you might hurt me is replaced with knowing just how bad you will / I’m looking forward to the kill.” Its sentiments were so pure, so uninhibited, and so in line with the primal instincts lust and love can strip us back to. Mitchell’s writer’s voice on “Forward To The Kill” was a prerequisite to my devouring her catalogue, all the way to 2024’s “Do It Again.”
Described jokingly by Mitchell as “horny twang,” her most recent release is a confession, an unclothing, an admission of sensual and spiritual submission. Its gentle acoustics wrap around simple, unguarded requests. “I wanna let you look at me, really look at me,” Mitchell admits. “I want you to touch me like I’m a fragile thing / Like porcelain, or a bird with a broken wing.” Her velvety voice strengthens with each single, while maintaining the gorgeous fragility inherent in her lyrics. I’m hoping for more in 2025, because there’s infinite power in vulnerability. – Emma Schoors
Tessa Violet has been on our radar for a while, but as she closed out 2024 with the release of “My Body’s My Buddy” she shifted gears and is now heading in an exciting new trajectory. Having released the original version of “My Body’s My Buddy” last summer, she decided to create a gender neutral version alongside viral sensation corook, demonstrating her ability to provide her fans with exactly what they want and ensuring her music resonates with even more listeners. It’s this level of relatability, authenticity and understanding that is taking the artist to new heights and her genuine connection with her audience is a total breath of fresh air.
In a world where our image is often scrutinized, the empowering “My Body’s My Budy” is a reminder to love ourselves exactly as we are—flaws and all. Tessa’s unapologetic self-love and her message of body positivity are exactly the kind of authentic, uplifting energy we need more of. – Joe Beer
In the crowded, though seemingly noncompetitive, world of modern country, many of the genres new artists are experiencing massive surges following one, just one, release of consequence. Perhaps no one is leading the conversation more than 17-year-old Ty Myers, whose emotional connection to lyric and musicality have proven to be quite enhanced despite a delicate yet slightly underdeveloped technique as a vocalist. He seems to have been handpicked for this position of influence and has graciously and maturely accepted the responsibility.
While many have fallen in love with Sam Barber and Avery Anna’s “Indigo” for its layered emotional arc, Myers’ “Ends Of The Earth,” currently his staple, has had the opposite effect. Wonderfully simplistic, and a callback to beloved waltz-like country ballads of the 90’s and early ’00s, Myers’ tune evokes the stages of grief thoroughly and accessibly. He follows this formula across many of his tunes, including “But Me,” and “Worry Is A Sickness.” – Noah Wade
Seattle-based songwriter/producer Will Roesner is a writing machine. From recording a song-a-day project this past August, to releasing a whole new 23-track album at the start of this year, Roesner’s creative drive is something to be admired. Though, even when considering the large quantity of his work, perhaps the most impressive aspect is how well his songs maintain their quality and depth. “I Am Afraid,” the closing song off his latest record, Fairy Music, is a hidden indie-rock gem. In the song, Roesner metaphorically refers to himself as a dog that relies on the love and affection of its owner (his partner). It’s a confessional song touching on the pain of co-dependency within a relationship. It’s an anthem for those with an anxious attachment, and a sonically lush, captivating piece of art in general. With a sound reminiscent of artists such as Alex G, Elliot Smith, and some PNW rock bands from the early ’00s, Will Roesner is a promising artist, and certainly one to watch. We can’t wait to see what magic he will create next. – Noa Jamir
The Wonderlands are a thrilling live act with a heavy focus on live instrumentation and improvisation. Set to release a record this year, Cincinnati, Ohio-based five-piece have, very quickly, shifted from attempts at college age-geared big band to more adult contemporary fare along the lines of Boy George, Erasure, and Pet Shop Boys. Lead singer Miles Jena is a convincing salesman, as he, a rare chameleon, is fully equipped with a plethora of palettes and isolated tokens. – Noah Wade
In all fairness, Wynona became one of my personal “artists to watch” all the way back in January of last year – right around the time I first heard “Feeling for Edges,” an intimate and aching alt-rock anthem that captures the crushing weight of anxiety, emotional friction, and inner turbulence in our daily lives. The Reading, England-based duo of Natalie Woodward and Richard Willats went on to release a whopping nine singles throughout 2024, ensuring they were a near-constant presence on my “Release Radar” – a welcome name that came with the promise of some irresistibly catchy and cathartic songwriting.
Through dreamy hooks and pastel melodies, cinematic guitars and dramatic drums, Wynona have me hooked – and I wouldn’t have it any other way. Highlights include the romantic Valentine’s anthem “Kiss Me, Kiss Me” – a truly irresistible celebration of love and connection – as well as the spirited “Sink or Swim,” the nostalgia-soaked “Fake Film Scripts,” and the gauzy, emotionally charged “Turning Circles.” Truth be told, every Wynona song is a hit in my book – and with a particularly special talent for blending charming melodies with evocative lyricism, this band are quickly emerging as a singular force of indie pop and alt-rock wonder. It’s safe to say I’ve fallen headfirst for Wynona and their seductive “mum-jean rock” sound. – Mitch Mosk
For folks who are in need of a break from lyric-heavy music, rigid genre boxes, or just want to hear something that feels truly original, Yasmin Williams has got you covered. In noisy times like these where our attention has become the new currency, Williams’ latest record, “Acadia,” feels like a deep breath of fresh air.
Yasmin Williams specializes in ‘lap tapping’, a technique that involves resting the guitar face-up on one’s lap while both hands fingerpick on the fretboard. It is a meticulous skill, though Williams makes it look and sound effortless. A highlight on her latest record is a song called “Virga.” Featuring gentle harmonies that glide alongside the meditative soundscape, it is equally enchanting as it is relaxing. It is more than ear candy; it is food for the soul. – Noa Jamir
For those who love both the harsh screams of hardcore and the twinkle lo-fi sounds of bedroom pop, YAAMC is a match made in heaven. Tyler Odom has created the definitive fifth wave emo sound, ushering the ever-changing genre into the screamo (or skramz) revival everyone has come to love. Rough around the edges, the project stands to uplift the harrowing lyrics it boasts, and YAAMC is meant to be played live more than any of their peers. They released “death of a rabbit” in August of last year, but have already popped back up this January with a song (really more a forty-five second blast) on a Bandcamp split with the bands awakebutstillinbed, California Cousins, and Aren’t We Amphibians. – Juls Patterson
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2025 Artists to Watch
