100 gecs, Alina Ly, Ant Thomaz, Anyhow, Aziya, Ber, Bre Kennedy, Brigitte Calls Me Baby, Cordelia, Delaney Bailey, Dove Ellis, Esme Rose, Harrison Gordon, Haute & Freddy, Hotel Mira, Hudson Freeman, Killen., Kings, Leodis, Liv Belda, LØLØ, Lutalo, Mini Trees, Mon Rovîa, moondoggy, MX LONELY, New Constellations, Nilüfer Yanya, NLE The Great, Paige Kennedy, Rae Spoon, The Runarounds, Ryn Weaver, Silver Liz, SISTRA, Slayyyter, Snow Strippers, Sophia Bromberg, Sophie May, The Sophs, Tei Shi, Tia Wood, The Weather Station, Westside Cowboy, Weyes Blood, Wim Tapley, Witch Post, wylie hopkins, yunè pinku, Zarema

Every year, we are amazed and humbled by the artists we discover – and 2025 was an undeniably exhilarating year for music!

Mitch Mosk, Editor-in-Chief

2026’s Artists to Watch

Atwood Magazine’s
2026 Artists to Watch

Click on the artist’s name to skip right to their entry!

100 gecs, Alina Ly, Ant Thomaz, Anyhow, Aziya, Ber, Bre Kennedy, Brigitte Calls Me Baby, Cordelia, Delaney Bailey, Dove Ellis, Esme Rose, Harrison Gordon, Haute & Freddy, Hotel Mira, Hudson Freeman, Killen., Kings, Leodis, Liv Belda, LØLØ, Lutalo, Mini Trees, Mon Rovîa, moondoggy, MX LONELY, New Constellations, Nilüfer Yanya, NLE The Great, Paige Kennedy, Rae Spoon, The Runarounds, Ryn Weaver, Silver Liz, SISTRA, Slayyyter, Snow Strippers, Sophia Bromberg, Sophie May, The Sophs, Tei Shi, Tia Wood, The Weather Station, Westside Cowboy, Weyes Blood, Wim Tapley, Witch Post, wylie hopkins, yunè pinku, Zarema

Are 100gecs still together? Is Dylan Brady still producing music? Where is Laura Les? How many more sounds can they make? Is the 10,000 gecs remix album ever coming? Is full radio silence exciting? Are they moving in secret? What is a gec? All of these are are unanswered questions, and I will not attempt to solve their riddles. I do know they opened for My Chemical Romance last year, and it’s been 3 years since 10,000 gecs. It took the duo a little under 4 years to release their sophomore album; if we’re lucky 100 gecs may drip feed fans a crumb of hope music is on the way.

Their sophomore release, 10,000 gecs saw the duo lean more into nu-metal and rock, with numerous standout songs like “Hollywood Baby” and “Billy Knows Jamie.” Their debut record, the aptly named 1000 Gecs, shattered the internet and pioneered a new wave of hyperpop. Fans were lucky when a cavalcade of visionary producers remixed it, creating 1000 gecs and The Tree of Clues and creating a true masterpiece with Fall Out Boy – “hand crushed by a mallet (remix) [feat. Fal Out Boy, Craig Owens, Nicole Dollanger]. ” 10,000 gecs did not see this remix treatment, yet fans of the group are still hanging on. Maybe 2026 is the year. Maybe it’s not. We’ll be watching anyways. – Andrew Lamson

Just before the year wrapped, Alina Ly graced us with her latest record, Shoebox. Across 9 tracks, the record’s swooping soundscapes maintain complexity and simplicity all at once. Between sparkling melodies and electric guitar reverberations, the world of Shoebox feels intimate, infinite, and personal. Paired with stunning visuals, the album feels just like what you see – dozens of paper cranes strewn across the water, with Ly at the center, tending to these figures gently and intently.

I tend to see each song on this record as a paper crane in its own right. In Japanese folklore, paper cranes symbolise hope, healing and peace. The album’s title, Shoebox, perhaps hints at what the record in its entirety represented for Ly as an artist. Pulling from memories tucked away, each song feels like Ly’s release of a feeling that no longer serves her. A quiet force, a loud reckoning – this is how Ly’s music feels to me, and with Shoebox as a debut, it’s only up from here. – Rachel Leong

Ant Thomaz is a Glasgow-based singer-songwriter whose music reflects a life shaped by his lived experiences and family history. With roots in the Bayou of southern Louisiana and a creative home in Scotland, his sound draws from folk, soul, pop, zydeco, and rock. Across releases like “Feet on the Ground” and “Believe” last year, Thomaz showed a clear instinct for melody and feeling, writing songs that come from personal experiences and everyday moments. There’s a warmth to his songwriting that makes it easy to connect with.

His latest single, “Good Times Roll,” signals where he’s heading next, leaning into rhythm, joy, and a sense of togetherness. Thomaz has an ability to write songs that feel good, combining thoughtful ideas with energy that lifts the room. From busking on Glasgow’s streets to performing on festival stages, his focus has always been on connection and community. With a debut solo album on the way, Ant Thomaz stands out as an artist to watch for his honesty, optimism, and ability to bring people together through music. – Joe Beer

Brooklyn’s Anyhow began as two songwriters with more songs than space to hold them. Nick Cianci and Dan Harris – longtime fixtures in Del Water Gap and Shallow Alcove, respectively – had crossed paths for years before finally sitting down with a couple of guitars and discovering something immediate: Shared instinct, shared trust, and a shared refusal to stay in one lane. What emerged is warm, guitar-driven indie rock rooted in collaboration and chemistry – music that feels lived-in without feeling nostalgic, melodic without gloss, intimate without collapsing inward. Their songs linger in the unresolved, turning friendship and uncertainty into something steady and deeply human.

Since debuting in late October with the double single “Harder Than Before / Can’t Move,” Anyhow have quickly proven themselves a band with range and emotional clarity. January’s follow-up, “The Breaker,” continues that momentum, hinting at the scope of a debut LP on the horizon this spring. Built on creative trust and a commitment to making a cohesive record rather than a collection of singles, Anyhow already sound less like a side project and more like a band built for longevity – a charmingly confident new force in indie rock and a clear Artist to Watch in 2026. – Mitch Mosk

After 2024’s dynamic BAMBI EP, Aziya released a handful of songs last year (“he’s mine,” “diamonds,” and the gorgeous romantic ballad “i’m in love, believe it”) that stirred up even more anticipation for what she might do this year. She describes her sound, via her Spotify bio, as making music that she’d want Debbie Harry to sing, John Bonham to drum on, and Prince to produce. This is such an apt amalgamation of her sonic palette; she has a knack for blending pop and rock styles into a super-smooth blend anchored by her voice, equal parts incisive, emphatic and wispy, especially in her upper register. If she ever leaned into dream-pop styles, the result would be unstoppable. My favorite song of hers is “Blood.” It’s an ode to the fraughtness and betrayal that can exist in close relationships, born or forged, and the chorus makes you want to belt it out right alongside her, even if you don’t necessarily relate to everything she’s singing about. Herein lies the mark of a truly great musician; when they can make you identify and empathize with things that have little to do with your own personal life. While there’s nothing officially on the horizon for Aziya just yet, I’m looking forward to seeing her sound expand even more this year. – Kendall Graham

Berit Dybing is a quick study. Before going viral on TikTok in 2021, the small-town Minnesota native went abroad and graduated from two different music programs. Hitting the books has put her in a unique position. She could play understudy to Gracie Abrams, Maggie Rogers, Kacey Musgraves or any combination of today’s leading ladies. But it’s her delicate grasp on how the charts are changing tune that slots Ber at the top of this year’s incoming class. Her long-awaited debut album flashes plenty of style and substance, like all good pop music should.

Good, Like It Should Be earns high marks across the board. Like any straight-A student, Ber exhibits immense potential when tasked with jazzy sophisti-pop, a Norwegian dancefloor banger or sex-positive indie bop. Crucially though, she’s already mastered the art form that’s become so critical for any successful pop star. The album isn’t short on options, but “Book Cover” is the most clever of its confessional ballads. While penned during her overseas schooling, the song plants its flag somewhere between red dirt country and Bon Iver’s cabin as she pines for recognition.

“Baby, you should try me.” Whoever this person is really does need to open his eyes. For anyone with ears, Ber’s raw talent is plain to see with each twangy turn of phrase. – Will Yarbrough

There’s something magical about watching an artist transform into their truest self, and Bre Kennedy is doing exactly that as she steps into 2026. Her fourth studio album, The Alchemist, set for release on January 30, is her most vulnerable and grounded work yet.

The project came out of a “foundational demolition” that forced her to walk into the really scary, dark rooms of her life and not shy away. Across 10 tracks, Kennedy faces grief with grace, while the softness of her voice makes even the heaviest moments feel like the Lorazepam is kicking in. Each song is shaped by a fearless introspection and honesty. Like a true alchemist, she has an innate ability to transform the messy, ugly parts into something survivable, and revealing what’s possible – maybe even beautiful – beyond the struggle. – Aileen Goos

Chicago’s Brigitte Calls Me Baby don’t just play rock music – they inhabit it. Since forming in 2022, the five-piece have built a reputation for theatrical, chest-hitting live shows and songs that turn heartbreak, infatuation, and existential dread into something romantic and combustible. Their 2024 debut The Future Is Our Way Out introduced a band unafraid of big feelings and bigger questions; now, with their sophomore album Irreversible arriving March 13 via ATO Records, they sound bolder, braver, and fully transformed by the road.

Written in transit and refined onstage, Irreversible captures a version of Brigitte Calls Me Baby that learned itself in front of audiences – testing new material mid-tour, chasing instinct over excess, and leaning into emotional extremes rather than sanding them down. New singles “Slumber Party” and “I Danced With Another Love in My Dream” reveal a newfound fearlessness: Brighter, brasher, and more textural without losing the dynamism and drama that defines them. Add in a massive North American headline run and sold-out dates across the UK and Europe, and it’s clear Brigitte Calls Me Baby aren’t riding momentum – they’re accelerating it. 2026 feels less like a breakout and more like a coronation – the confirmation of what some fans have known since day one. – Mitch Mosk

I found Cordelia in a beautiful accident; first in one of my most-played songs, “At the Back of My Mind,” and then shortly after when she opened at a Sophie May gig in London. I have since identified the song she began with, “Not So Sure” – where her hybrid guitar fingerstyle and gritty vocals seemed to reverberate and rest in my body, the way music tends to do when it feels like magic.

Leading with playful songwriting, and a keen ear for melody, Cordelia doesn’t shy away from storytelling that is equal parts self-aware, brave, and wittily self-deprecating. After a breakthrough hit “A Little Life,” finding the rest of her discography felt like a treasure trove of songs that kept getting better. – Rachel Leong

Delaney Bailey has been on my playlist for quite a while now. She has that quiet power of storytelling that just works. The Chicagp- based singer-songwriter started posting music on TikTok. Her first album (I Would Have Followed You) was released in 2022 and her latest EP Chiaroscuro was released in 2024 She has a new album Concave is soon to be released. Delaney is definitely someone that has all it takes to create beautiful music for years to come. – Nicolle Knapová

Irish singer/songwriter Dove Ellis closed out 2025 like a flare in the dark: Emotionally fearless, vocally arresting, and already operating with the kind of conviction most artists spend years chasing. His music has real weight to it, moving fluidly between hush and spectacle, tenderness and force, often within the same breath. His voice is soulful and raw, elastic and expressive, and volatile in the best way – an instrument that can turn a buzzing room silent because it demands your full, undivided attention. Ellis doesn’t just sing his feelings; he inhabits them, stretching and straining in real time until emotion becomes presence.

I fell into his world through “To The Sandals,” but it was “Love Is” that made the whole thing click – a song that starts as a tender piano confession and then blooms into something feverish, bright, jangling, and beautifully unrestrained, reckoning with love’s power without pretending it’s a cure-all. That same emotional weather system defines his debut album Blizzard (released December 2025) – intimate yet expansive, unguarded yet commanding, full of bold songs that don’t rush toward resolution so much as sit in the mess and trust you to follow. It’s rare to hear a debut this confident in its vulnerability, this willing to risk excess in pursuit of truth. Dove Ellis didn’t just introduce himself at the end of the year – he announced a singular new voice with the songwriting, presence, and sheer vocal force to become one of 2026’s most undeniable artists to watch. – Mitch Mosk

Esme Rose moves through the alternative landscape like a modern-day mystic, weaving witchy symbolism and Southern gothic storytelling into a sound that feels both ancient and strikingly current. Known for her dark country and gothic-folk leanings, the contemporary singer channels haunted Americana through smoky vocals, shadowy banjo lines, and a cinematic atmosphere that borders on ritual. Her music feels less like a performance and more like an invocation, steeped in mysticism, Southern grit, and a sense of quiet power that lingers long after the song ends.

Rooted in themes of witchcraft, divine femininity, and self-possession, Esme Rose’s work speaks directly to listeners drawn to occult aesthetics and unapologetic feminine energy. Her album 7 Deadly Spells and singles like “Blood & Fire” and “Sinner” showcase her ability to blend empowerment with darkness, crafting songs that feel both intimate and mythic. In a genre space where authenticity is everything, Esme Rose stands out as an artist reshaping dark Americana, one spellbinding track at a time. – Danielle Holian

We will be unable to discuss the 2020s retrospectively without relentless words spilled on the modern emo revival. Countless bands have had banner years since surviving the pandemic, Arm’s Length and Ben Quad released sensational 2025 albums, and Harrison Gordon is now primed for their moment in the light. The band’s largest hit, “Kirby Down B,” taps into a relentless face blast of nostalgia for the chorus. 2025 saw the group release Spring Break!, a 6-song EP far more refined and focused than their 2023 debut album.

Their upcoming North American tour includes: Arm’s Length, The Callous Daoboys, Harrison Gordon, and Super Sometimes — a once-in-a-lifetime billing for fans of the newest wave of emo soundscapes. The venues look extremely deliberate, big-enough to not sell out immediately yet small-enough to feel the collective. There’s a world the tour ends with Harrison Gordon as the most watched artist out of the four, especially if the boys from Illinois get into the studio. – Andrew Lamson

A dazzling collision of club culture, theatrical flair, and maximalist pop ambition, Haute & Freddy feel less like a new band and more like a full-scale world waiting to be stepped into. The L.A. duo of Michelle Buzz and Lance Shipp make alt-pop that’s delightfully strange and deliciously dramatic – part underground dancefloor, part 18th-century costume drama – turning every song into a spectacle of sound, style, and self-expression. Their music is bold, theatrical, and hard-hitting, a dictionary of excitement that moves the body, electrifies the ears, and stirs the soul all at once.

Recent single “Dance The Pain Away” captures that ethos in full color: a glittering, high-energy escape that channels the chaos of modern life into catharsis on the dancefloor, where overwhelmed emotions dissolve into movement and release. On it, the duo bottle the feeling of a crowded, grimy dancefloor where, for a few minutes, the world’s weight disappears – a moment of euphoric forgetting wrapped in addictive synths and theatrical flair.

With their debut album Big Disgrace arriving March 13 via Atlantic Records and a devoted fanbase already rallying around their spectacular, unpredictable alt-pop universe, Haute & Freddy feel poised for their big arrival. Built on a deep love of theater, obscure synths, and underground club culture, their songs blur centuries and genres, channeling opulence, chaos, and camp into something wholly their own. As momentum continues to build, now is the time to step into the Royal Court and dance the pain away. – Mitch Mosk

Hotel Mira is shaping up to be one of the most exciting acts to watch this year. The Vancouver-based band bookended 2025 with the release of their album, Pity Party, and a sold-out North American tour, proving that their indie-rock sound and proudly unhinged lyrics scratches an itch in the brains of fans. With an upcoming UK tour, it feels like the band is only just starting to make its mark.

Charlie Kerr, often described as a “Métis Harry Styles,” is a huge part of the appeal. Beyond his magnetic stage presence, he’s unflinchingly honest about social issues, tackling them in a way that feels relatable rather than judgmental or preachy. What makes Hotel Mira really stand out, though, is their commitment to storytelling and representation. Every song feels like a piece of a larger conversation about identity and belonging, and giving space for underrepresented perspectives – something that makes them vital and unforgettable heading into 2026. – Aileen Goos

Brooklyn-based singer/songwriter Hudson Freeman has spent the past decade quietly building toward this moment – and suddenly, the world is listening. Born in Waxahachie, Texas, raised between North Dallas and Eswatini by missionary parents, and shaped by years of homeschooled introspection and acoustic obsession, Freeman writes folk music that sounds like rock at its most unguarded. There’s mud in the mix, twang in the vowels, and slowcore unease beneath the melodies – a grunge-leaning, left-of-center Americana that resists polish in favor of presence. His breakout single “If You Know Me” first surfaced as a stark voice-memo demo, eventually cresting over three million streams before its studio release sharpened the song’s emotional weight without sanding off its edges. It wasn’t hype that carried it forward – it was recognition.

What sets Freeman apart isn’t just the sound, but the stakes. He calls “If You Know Me” a “pre-political song,” a plea for good faith connection in an era shaped by algorithms, suspicion, and parallel realities. His music wrestles openly with faith, displacement, digital alienation, and the uneasy work of becoming yourself offline and online at once – not with spectacle, but with sincerity. At a time when irony often outruns intimacy, Freeman is choosing earnestness, and people are responding in kind. If 2025 marked his “arrival,” 2026 looks to be the year his slow-burning vision fully catches fire. – Mitch Mosk

After producing and writing tracks for household electronic names like Swedish House Mafia and RL Grime, Killen. is up next with his blend of euphoric, melancholic dance. Oscillating between arresting vulnerability and breezy beats, Killen.’s music feels like a vivid dream. One you don’t want to wake up from, that is. The common thread that connects each of his releases is the undeniable pull, that indescribable feeling of want, that thing that makes you put a song on repeat.

Killen. took home a Swedish Grammis award for “Best Dance Act” in 2025 and released “Mojo” on Above & Beyond’s legendary record label, Anjunadeep. Successful single releases peppered the past year from pensive bops like “Naive” and “ONANON” to energetic dopamine hits on “High Like The Sky” and most recently, “Fear Me” featuring Izza Gara. All signs point to more new music in the new year, and Killen.’s star continuing to rise. – Alex K

I discovered Kings by total chance! I saw her reels on Instagram where she would ask her sister for three words to create a song and from thereon I was obsessed with her voice, her aesthetic, her vibes, everything. Her album Food For Thought that was released in October 2025 is a must listen in 2026 and I truly hope we will get a new album in 2026 because her talent is unmatched! Sing Myself To Sleep is a heartbreaking and gorgeous ballad thar gives break up anthems run for their money. – Nicolle Knapová

Leodis quickly made it onto my discoveries list late last year. Fronting raw melodies, gritty vocals, and honest storytelling – this feels like everything UK country could be. Between slide guitar in the verses, to electric guitar solos in the bridge, Leodis feels nostalgic in the most comforting way.

Where “Days Like These” feels like a sentimental reflection on loss and moving on, “Along the Way” equally rises to the optimism of growth, and the joys of self-discovery. Paired with storytelling about belonging, love, and loss – Leodis are striking out in an industry that frequently prioritizes its opposites. – Rachel Leong

Hailing from Central California, Liv aptly describes both her music and personality as “cozy.” The jazzy, neo-soul, R&B-inspired feel of her music feels instantly warm and approachable. I’ve had the pleasure of watching her grace local stages in San Francisco and Oakland, and she immediately invites the audience to lean in closer with her huge smile and raspy vocals. Her storytelling feels conversational without becoming too literal. Her songs explore themes of love, romance, independence, and identity. She’s starting releasing more music in recent years and I can’t wait to hear her new projects. – Ankita Bhanot

LØLØ makes music that feels psychotically sentimental in the best way possible: equal parts emotional whiplash and self-aware catharsis. The Canadian singer-songwriter, who first built her audience on TikTok, has since released two EPs and a full-length album with Hopeless Records, carving out a space where pop-punk grit meets alternative vulnerability. Her sound nods to the legacy of Avril Lavigne while tapping into the modern emotional candor of artists like boygenius and Upsahl, pairing crunchy guitars with melodies that linger long after the hook fades.

What makes LØLØ stand out is the way she tells her stories. Her music reaches beyond breakup clichés, resonating with anyone who’s been hurt, hardened, and still managed to laugh once the dust settled. Armed with a sharp tongue and a soft heart, her songs balance rebellion with relatability, redefining what alternative pop can sound like in the process. Standout track “the devil wears converse” captures this perfectly: biting, catchy, and emotionally loaded, it’s the kind of anthem that makes heartbreak feel survivable – and even a little empowering. – Danielle Holian

Now THIS is indie rock. Perfect for moody, bundled, winter walks. Lutalo’s record The Academy makes me feel like I’m in a house show, but it’s smokey and I can’t see three feet in front of me (complimentary). – Hannah Burns

Between the new album Slow It Down and the feature on Jay Som’s “Cards on the Table,” Mini Trees has been on repeat since Fall. I don’t see the end of the obsession in sight, and I’ve happily surrendered. Mini Tree’s songs have an addictive quality to them, especially for folks who love dancing to songs with devastating lyrics. – Hannah Burns

Liberia-born and Tennessee-rooted, Mon Rovîa is quietly redefining what modern folk can hold. His debut album Bloodline, released at the very top of 2026, established him not just as a songwriter, but as a moral presence: An artist shaped by war, adoption, migration, and physical labor, who has turned an intricate and fractured past into something steadying and useful. His songs move with gentle harmonies and warm restraint, but beneath their softness lies conviction: Protest without dehumanization, vulnerability without spectacle, identity without easy answers. Whether singing about lineage on “Bloodline,” searching for origin on “Whose face am I,” or confronting systemic injustice on the anthemic “Heavy Foot,” Mon Rovîa writes like someone who believes art carries responsibility – to tell the truth, to leave doors open, and to remind listeners that suffering is not the end of the story.

With over 200 million lifetime streams, sold-out headline tours, festival appearances at Bonnaroo, Newport Folk Festival, and Red Rocks, and a growing reputation as one of folk’s most compelling new voices, Mon Rovîa enters 2026 with undeniable momentum. But numbers alone don’t explain the pull. What makes him an artist to watch is the rare balance he strikes between intimacy and urgency: His music feels like a companion, even as it calls listeners toward empathy, attention, and care. In a cultural moment defined by noise and division, he offers something steadier – songs that hold fast to love, solidarity, and becoming, inviting us to leave the world a little more human than we found it. – Mitch Mosk

Every year opens the door to new music, cool discoveries, and fresh talent. Toronto based five-piece, moondoggy is already stepping into 2026 with a brand new release. “Grow Up, Move Out,” their latest single, reflects its cover art: It’s a reminiscent, bittersweet song that takes you back to the campfire. Every fire must be put out, but the stars remain as a glowing reminder of it all.

This single is just the beginning of what the band has in store this year. Releasing one song in the beginning of January indicates that there’s more to come. Not only is there a possibility of more music, but a confirmation of a tour. The group announced their first tour which is set to take place this spring. – Miranda Urbanczyk

It would take a person braver than me to try and put MX LONELY into a box. Heavy shoegaze? Vibey hardcore? Retro ’90s throwback grunge with an irreverent twist? Who knows, or frankly cares, when it’s this good. The Brooklyn based three-piece exploded onto the scene as v0idb0ys in 2020, before changing their name and releasing a host more EPs. But now their debut album, All Monsters is coming February 20th, and trust me, you’re not ready. It’s loud, heavy, and brooding – and that’s just the lyricism. Sonically it’s another step up for the band, and it’s a brave direction that suits them well. All Monsters has MX LONELY primed for a huge year and you heard it here first. – Ollie Crook

Portland-based duo New Constellations — vocalist Harlee Case and multi-instrumentalist/producer Josh Smith — craft dreamy synth-pop that pulses with emotional intensity. Since landing in our universe, the two first connected between the ages of 13 and 15, collectively producing songs in Smith’s childhood bedroom. Eight years ago, they officially formed New Constellations, debuting in 2021 with “Hot Blooded,” an emotionally charged track about unrequited intensity.

Now, in 2026, their illusory atmospheric synths and airy vocals are elevating into new worlds as they release “I Disappear” on January 16 via Nettwerk Music, ahead of their promising debut LP, It Comes in Waves. Their latest song creates a dreamscape that pulls listeners into a space where zero gravity zaps pulsing synth-pop into an outer layer for deeper listening. The textures of the tune offer a view above an external world. “When I wake up inside the silence / Never to be right,” adds to the layers of emotional complexity caused by the fear of the unknown. – Ashley Littlefield

Last year was huge for Nilüfer Yanya. She opened for Alex G’s North American tour, performing in iconic venues like Radio City Music Hall and Los Angeles’ Greek Theatre. She went overseas to open for Lorde’s Ultrasound Tour. In July, she even released her EP Dancing Shoes, complete with fan-favorite tracks “Kneel” and “Cold Heart.” What’s most exciting about Nilüfer Yanya, though? This British singer-songwriter always feels on the cusp of something greater.

Nilüfer Yanya has a sound that’s so uniquely her own, grounded in indie rock while still pulling influence from pop, grunge, and psychedelia. Her voice feels equal parts airy and crunchy, sometimes mirroring her lyrics about love, time, or ambition. With upcoming Kilby Block Party and Royal Albert Hall performances, Nilüfer Yanya’s leap from “indie music’s best-kept-secret” to “household name” feels imminent for 2026. – Julia Dzurillay

Reinvention is the name of the game. After rebranding last year, abandoning his original moniker (Dropped the “Choppa,” added “The Great”), NLE returned with a collection of songs that signify what the rapper refers to as a “rebirth.” Songs like “Hello Revenge,” “KO” and “Messiah (Devil’s Diss),” one of my favorites of his, the only three released tracks last year from the start of this new era, let us know that he’s not messing around. He doesn’t dance around the points he’s trying to make; he attacks head on, without preamble, no beating around the bush, and that’s what’s so compelling about NLE. His style brings me back to 90s and 2000s rap and hip-hop, where alongside the trademark swaggering there also existed biting and insightful social commentary and themes beyond incessant extrapolation about wealth, fame and sexual prowess.

I want to know more of what he thinks about our political climate, about salvation, about perseverance, about suffering for your art. His pen is equal parts poetic and brutal, and that’s my exact, ideal brand of writing. I eagerly await what NLE The Great will drop throughout the upcoming year (a full album, hopefully!) – Kendall Graham

To listen to Paige Kennedy is to step into a bar with your best friend and know you’re in for a great night. You’re going to laugh, you’re going to feel seen and respected, and you’re sure as hell going to dance. You may not exactly know where the night is heading, but you trust Kennedy enough to know that it’s a great direction. Their latest EP, Style Over Substance, out February 6th, is their most complete offering yet. It’s a wry, dryly sardonic look at the life of a twenty-something person in England, irreverent of everything yet somehow deeply anxious. If that sounds in any way relatable, then listen to “Male Friend” and when you’re done giggling and dancing, try to tell me you’re not pumped for the whole EP. – Ollie Crook

A long-awaited return to country music for Rae Spoon is news enough to lead me to believe that 2026 will be alright. Spoon, a criminally underrated musician who has become something of an underground institution in their own right, started in country music back in the early 2000s before experimenting with electronic sounds. However, Spoon’s 13th solo album, Assigned Country Singer At Birth, is a return to their roots, and while we still love the electronic stuff, this latest venture can’t help make us excited. A legend of stage, books and music, Spoon is no stranger to arts lovers. But Assigned Country Singer At Birth feels like the album that could finally give them the mainstream attention they deserve. If you don’t know the name Rae Spoon already, that’s ok because luckily for you, we’re all about to talking about them. – Ollie Crook

Everyone secretly hopes that the music genre they love is represented more in the media they consume. Especially when it comes to smaller genres that aren’t included in the generic pop, rock, rap, or country title. For indie rock lovers, this dream became a reality when The Runarounds was released on Amazon Prime. As a band first and actors second, the group has gained traction from both entities.

A community of music lovers felt understood, not just from the show, but from the band’s music. Fans got to know each member through the show, which made each song all the more personal upon first listen. The group released their single “Chasing The Good Times” following the release of the show’s soundtrack. 2026 is a year of opportunities for the five-piece, with their upcoming tour on the horizon, opportunity for new music, and a possibility of their show being picked up for a season two. – Miranda Urbanczyk

Ten years ago, Ryn Weaver would likely be atop all the ‘Ones to Watch’ lists, coming off the breakout success of her near perfect debut 2015 album The Fool and breakout single “OctaHate,” co-written by Charli XCX. But just as quickly as Ryn Weaver arrived in pop music, she disappeared – not releasing any of her own music again until late last year. Now, promising a ‘second act,’ Weaver is back making music – and its just as good as it was the first time around.

On her second single, “Rorschach Baby,” Weaver showcases her talent as a singer and songwriter. The chorus opens with Weaver singing, “It’s not your fault I made you an art / Just to hide from me / You’re just a Rorschach, baby, I see what I want to see.” As the song unfolds, the classic chaos and addictive pop instincts that defined her debut come rushing back, crystallizing into a track that’s as fun as it is instantly gripping. Ten years in the making, Rorshach Baby proves that Weaver’s second act is well worth the wait – and that all these years later she is still one of pop music’s brightest talents. – Brian Denney

Silver Liz is the product of an older New York City. Not only did Carrie and Matt Wagner meet through an overheard conversation about The Strokes. The married couple’s bedroom project is named after Andy Warhol’s painting of America’s original showgirl. But like Brooklyn’s neighboring zoomgazers, they don’t rely on pedalboard magic to conjure otherworldly nostalgia. By maximizing their eclectic palette, III paints a loving portrait of faded youth.

If there’s one thing that shoegaze isn’t known for, it’s specific lyrics – and that’s coming from me, a guy who, as a pimply teenager, scribbled the opening verse of “Soon” onto a homemade T-shirt. III successfully blends the genre’s warm and fuzzy textures with dream pop, digicore, art rock’s detached kool and a touch of music concrète, but Silver Liz don’t hide behind the album’s kaleidoscopic swirl. “Dreams More Vivid” is instantly recognizable for its portrayal of the hot mess at your high school reunion. Colored by good humor and a riff that smears like hot pink lipstick, the song’s character sketch deepens with understanding; to feel better about our own perceived shortcomings, sometimes, it helps to believe no one else is doing well.

“And that’s fine,” Carrie assures as vocal runs dissolve beneath a bridge of glitchy keys. There’s comfort in the illusion, but make no mistake. With III, Silver Liz emerges as a genuine revelation. – Will Yarbrough

Sisters Sylvie and Sasha form SISTRA, the London-based duo creating dream pop bangers for fans of Charli XCX, MUNA, and The Japanese House. They’ve described their work as “emotional music for emotional people,” and that kind of hits the nail on the head. But that doesn’t quite cover their hypnotically clean instrumentals or the witty lyrical work that makes their music so addictive.

After two successful EP releases (the pursuit of feeling fine in 2023 and Between My Shoulder Blades in 2024), SISTRA have since released two new singles: “Things I Really Mean” in late 2025 and “Double Edged Sword” on January 9, 2026. Both tracks are strong shows of self-assuredness with a fresh hyperpop, electronic sound that blends shiny synths with sharp bass and bouncy reverb. With a debut album due to release this year, SISTRA is clearly one to watch in 2026. – Alex K

You’d be hard-pressed to find a pop singer who wants to be heard more than Slayyyter. For years, she’s played every stage available to her – nightclubs, opening slots, half-aware rooms – giving each one her full attention. I vividly remember being at a nightclub where she took the stage, unbilled and unannounced, winning over a crowd of gay men screaming her name because they hadn’t yet learned the lyrics to her songs. No matter the room, she performs like it matters.

For fans, last year something changed. Slayyyter released three of her best singles singles, headlined by her new track “Beat up Chanel$,” a roaring, building pop track that ranks among the best songs of last year. Now, signed to a major label, and locked in a Coachella appearance this spring – Slayyyter is certainly one to watch. It’s the rare kind of breakout that feels both inevitable and engineered – anchored by both undeniable talent, but also years of hard work and dedication to her music. With her first major-label album set to arrive early this year, Slayyyter isn’t just entering a bigger phase of her career – she’s staking her claim as pop’s clearest one to watch. – Brian Denney

Snow Strippers are the most exciting act in electroclash by an exceptional margin. The April Mixtape series contains numerous earworms that will melt your brain on repeated listens. There is no kick drum ever spared from the relentless precision of their dirty house. While their Night Killaz series might leave fans desiring their classic sound, there are true glimmers of brilliance sprinkled through them – “So What If I’m a Freak” remains one of the shining songs in their catalogue.

The duo is in the midst of a near sold-out tour throughout North America performing in front of ravenous fans yearning for the absolution of a dance floor. After performing a Sonora-closing set at Coachella last year, they’re the most electrifying act at Governor’s Ball (NYC), Bonnaroo (TN), and Hinterland (IA). It does not matter if new music is on the horizon; when the lights dim and the first notes to “It’s a Dream” play, the goosebumps a collective generation feel will remind us the salvation dancing brings. – Andrew Lamson

Sophia Bromberg makes music that feels quietly intimate and deeply honest. Her songs sit in the space between connection and isolation, capturing the emotional weight of modern life with vulnerability and clarity. Through soft but intentional production and reflective lyricism, she creates moments that feel less like performances and more like conversations.

At the center of her work is the idea of “blue love” – a love shaped by endurance, self-awareness, and emotional truth rather than fantasy. As Bromberg continues to develop her sound, she’s emerging as an artist who isn’t afraid to slow things down and say something real, making her one to watch in 2026. – Ankita Bhanot

Is there something Sophie May cannot do? I am not sure anymore! Yet another perfect collaboration with Matt Maltese and I can tell with confidence this is a team-up that has to happen far more often. “Another Song for the End of The World,” released in November 2025, is fun, it’s light and it’s catchy! She sounds so perfectly comfortable in this sound and I can only help there is more to come, because I know it will be worth it! – Nicolle Knapová

Los Angeles six-piece The Sophs make music that feels like a dare to their own worst instincts – searing, self-lacerating indie rock confessionals where shame, paranoia, lust, and ego all collide in real time. Frontman Ethan Ramon writes from what he calls “the worst part” of himself, using songs as a release valve for intrusive thoughts rather than a tidy act of self-mythologizing. Breakout singles like “SWEAT,” “DEATH IN THE FAMILY,” and “I’M YOUR FIEND” introduced a band unafraid of extremes: Jagged guitars, sudden explosions, and brutally honest lyrics that turn guilt into catharsis. It’s volatile, theatrical, and strangely magnetic – a sound built on what Ramon describes as a simple ethos: “Never deny yourself anything.”

That raw immediacy has already carried The Sophs from cold-email demos to a Rough Trade signing, and now into a breakout year. Their debut album GOLDSTAR arrives March 13, 2026, following their latest single “SWEETIEPIE,” a bleary-eyed, late-night plea that captures the band’s mix of romance and recklessness. With a global tour on the horizon – including stops at SXSW, Primavera, Roskilde, Treefort, and headline dates across North America, the UK, and Europe – The Sophs are poised to bring their chaotic, confessional energy to thousands of new listeners. If their early singles are any indication, 2026 won’t just be a big year for The Sophs; it’ll be the moment the rest of the world catches up to them. – Mitch Mosk

Richly textured soundscapes, razor-sharp vocals, and immersive storytelling combine to create Tei Shi’s decidedly singular sound. Complicated label issues and the COVID-19 pandemic impacted years of Tei Shi’s work and touring plans. Finally, the release of Die 4 Ur Love in 2020 marked the reclamation of her identity as an artist. Since then, she’s proven to be a powerhouse independent artist, starting with her BAD PREMONITION EP (2023) and leading up to consecutive albums Valerie (2024) and Make believe I make believe (2025).

Each release sees Tei Shi increasingly self-assured, each song resonating with depth, passion, and voice. Her unique brand of ethereal, experimental pop invites listeners to experience the music’s artistry, not just its sound or vibe. The playfully gritty sound on “Drop dead” juxtaposes the glittery melancholy of “Anything (best friend),” and bops like “Iris” and “Don’t cry” could easily slide into radio rotation. On the brink of a European tour starting in February, Tei Shi is poised for a breakthrough. – Alex K

From the dirt roads of Saddle Lake Cree Nation in Alberta to sold-out stages in Los Angeles, Tia Wood carries the spirit of her home with her wherever she goes. The singer/songwriter blends the stories and sounds of her Cree heritage with modern pop, creating music that stays close to who she is, but is made to connect far beyond that. In October 2025, she made one of those stages unforgettable when she joined Shawn Mendes in Vancouver for a duet of his song “Youth,” adding a verse honoring Missing & Murdered Indigenous Women & Girls and merging pop with traditional powwow music in a moment of powerful cultural meaning.

That momentum shows no signs of slowing. As the first Indigenous woman signed to Sony Music Canada, Wood is carving out space for Native voices while building a career on her own terms. Music runs deep in her family – her father, Earl Wood, co-founded the JUNO-winning and Grammy-nominated Northern Cree, her mother performed in an all-women drum group, and her sister, Fawn Wood, is a JUNO Award-winning artist – but Wood’s path is distinctly her own. Her debut EP, Pretty Red Bird, earned a 2025 JUNO Award nomination for Contemporary Indigenous Artist of the Year, and her growing TikTok presence is helping her share Cree language and culture with a new generation. – Aileen Goos

Her voice is undeniably in the Florence and the Machine universe, albeit more Folk/Americana-sounding. Tamara Lindeman is the mastermind behind The Weather Station, creating music with the indie band since 2006. She caught our attention with 2021’s Ignorance, returning with another strong release in 2025 – Humanhood.

There’s a certain atmospheric, witchy, and nature-inspired element that’s prevalent throughout The Weather Station’s discography (and even band name.) Each track is incredibly dense, layered with strings, saxophone, and of course, Lindeman’s piercing lyrics. Her honesty feels cleansing more than anything else, which is exactly what you want going into a new year. – Julia Dzurillay

Manchester four-piece Westside Cowboy started with a music shop shift and a joke about forming a band. A couple of years later, that offhand idea has snowballed into one of the UK’s most vital new bands. What began as an escape from “techy” overthinking has quickly turned into a release valve for pent-up creative energy: Lean, country-tinged indie rock songs that feel instinctual rather than engineered. They call it “Britainicana” – a blend of classic British songwriting and ragged American alternative rock – but what really sets them apart is the spirit underneath it. Westside Cowboy are as committed to community as they are to hooks, co-founding the No Band Is An Island collective to push back against indie nihilism and build something bigger than themselves. In a scene that often prizes cool detachment, they’re chasing connection instead.

That urgency first crystallized on 2025’s This Better Be Something Great, a debut EP written in a two-week creative burst and captured with just enough polish to preserve its live-wire spark. Early 2026 follow-up So Much Country ’Til We Get There – their first release for Island Records’ Adventure Recordings imprint – widens the frame without losing the pulse. Singles like “Don’t Throw Rocks” and “Can’t See” trade restraint for catharsis, sharpening their kinetic college-rock instincts while keeping the band’s scrappy heart intact. Two EPs in, Westside Cowboy already sound like a group who know exactly who they are – and more importantly, who they’re making music for. If 2025 was the ignition, 2026 looks like lift-off. – Mitch Mosk

Weyes Blood’s discography has a captured the hearts of fans through her unmistakable, old-timey voice and spacey production, most notably on her last two records Titanic Rising and on And In The Darkness, Hearts Aglow. With the latter released in 2022 and Blood having shared two collaborative singles in 2025, “Real Thing” with Drugdealer and “Destiny Arrives” with Spellling, she may very well be gearing up listeners for another journey into atmospheric worlds she builds with her music. Both of her last two albums feel like sisters in a way, aesthetically and sonically, and the singles she released may indicate a new era the artist is stepping into, and hopefully one she’ll invite us to be within in 2026. If you like artists Joni Mitchell and music that makes you feel out of body, keep an eye on Weyes Blood in 2026. – Marc Maleri

I had the pleasure of interviewing Wim Tapley for work last summer, ahead of a concert he played at one of my local venues, and can attest that in addition to being a great musician, he’s also a very nice, charismatic, humble guy. He rises above the mold of the soft-rock-soulful-singer-songwriter type by maintaining an attitude and gratefulness toward music and collaboration and community that only bolster what you hear when he starts singing. Songs like “Well Tequila” and “Errands” showcase an astute writing perspective, and a reverence for the classic 70s and 80s full-band rock sound. It feels a tiny bit reductive to classify the kind of music he makes as “easy listening” (it evokes, to me, a lack of bite and/or complexity) but it fits the bill because it’s so accessible and pleasing to the ear. He’s currently on tour around the South and Southeastern U.S. Despite releasing just one song last year, the supremely catchy “Call It Like You See It,” evoking, in my mind, a Tears For Fears-esque soft-rock soundscape, my anticipation remains high and my attention rapt for the releases Tapley and his band, the Cannons, will release this year. – Kendall Graham

Witch Post feel like a myth unfolding in real time; like a fever breaking; like a world you stumble into headfirst – charged, churning, and unapologetically otherworldly. The Scottish–American duo of Alaska Reid and Dylan Fraser first pulled us into their spell with 2024’s “Chill Out,” an all-consuming alternative eruption that blends the heat of the garage with the refinement of a bedroom studio. Since then, the eight-track Beast EP has revealed them to be a singular, rising force – the combined powerhouse of two unique artists, each with their own storied histories and solo careers, coming together over a shared love of dreamy folklore, sleazy grunge, and hauntingly spiritual songwriting. Their music moves in dualities – intimate yet widescreen, smoldering yet spectral, raw yet deliberate – and what makes it so compelling is their refusal to flatten those contrasts. They trust the unease. They let the story breathe. And in doing so, they create songs that feel less performed than conjured – as spellbinding as they are utterly seductive.

Now, with their new EP Butterfly arriving March 20 via Partisan Records and the quietly magnetic “Worry Angel” leading the way, Witch Post are deepening their artistry rather than diluting it. If Beast was the ignition, Butterfly feels like expansion: Anxiety transformed into something familiar and affirming, distortion blooming not for spectacle but for containment and catharsis. Add to that their first-ever US headline shows in New York and Los Angeles, and the momentum feels undeniable – it’s clear this is an arrival. Witch Post are a world unto themselves, building atmosphere, tension, and permanence in every song – and that’s exactly why they’re one of Atwood’s 2026 Artists to Watch. – Mitch Mosk

Finding your way takes time. This is something wylie hopkins seems to have understood since he started making music as a kid. Their patience and constant pursuit of growth have resulted in a diverse body of work spanning genres like EDM, bedroom pop, indie electronic, and shoegaze. While he’s methodically honed his craft and steadily released music since 2020, he’s chosen to stay out of the limelight, letting his work speak for itself. And if there’s one thing that’s clear across wylie hopkins’ catalogue, it’s their dedication to producing with precision and emotion. Their first EP On the Way Out (2022) features a mostly sunny soundscape, from catchy, bouncy vocals on “Must Be Dreaming” to mid-summer sadness on “Cut.”

Three years later, they’re back with Desire Path (2025). The new EP showcases a gloomier sound but a more focused concept. The tracklist offers doses of dreamy reflection on “Always (Think of You),” sobering truths on “At The World’s End,” and contemplative criticism on “Sport.” Through it all, wylie hopkins shows us who he is, and has been, from the start: an artist who loves making music for the sake of the process, the catharsis it offers, and the feeling it brings to listeners. An ethos that is at once why he may not have blown up yet and the very reason why he should. Having already caught the attention of artists like Porter Robinson and Wavedash, and coming off a West Coast fall tour supporting Covet, wylie hopkins seems primed for the attention they so deserve. – Alex K

Pushing boundaries is nothing new for Asha Catherine Nandy, better known as yunè pinku. The Malaysian-Irish artist, born in South London, blends garage, indie, and dance into a singular groove. She unabashedly makes music for the introverted raver. The electronic fan who’d rather stay home and vibe than sweat with strangers in a packed club. She makes introspective beats for solace at a steady BPM.

Nandy’s Scarlet Lamb EP (2024) showcased a different side of her artistry than her synth-forward previous projects. The dark electro-pop that runs through the EP is reminiscent of 90s trip-hop. It evokes complex emotions and imagery of introspective late-night strolls (“Reckless Sensation”), writer’s block that refuses to relent as the candle drowns in its own wax (“Midnight Oil”), and hesitant hope for the light at the end of the tunnel (“Believe”). Nandy’s ethereal delivery at once adds depth and serves as an anchor point across each track’s instrumental. After a relatively quiet 2025, yunè pinku is due for a big release in 2026 that could very well solidify her place on the map. – Alex K

Los Angeles based artist Zarema released her single “Closure,” along with two remixes of it, towards the end of 2025, and it was that track that firmly put her on our radar. Written in response to losing a close family member during the earliest days of the pandemic, the song captures grief and touches on the absence of goodbyes and the weight of what was left unsaid. Through a powerful delivery, Zarema allows the emotion to unfold and sits with the discomfort of loss, making space for listeners who have experienced similar moments of sudden loss. That honesty makes the song instantly relatable, especially for anyone who has experienced the death of a loved one.

Zarema’s ability to translate deeply personal experiences into something universal is what makes her stand out as an artist worth watching closely. With a clear emotional voice and an instinct for meaningful storytelling, her music combines emotional authenticity with an energy that makes her songs both relatable and instantly engaging. – Joe Beer

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2026 Artists to Watch