I do love a discovery by algorithm. And sometimes the internet gets it spectacularly right. My latest musical rabbit hole began, rather innocently enough, with Luciana’s latest release, “When I Feel The Love”.

One click later and, somehow, I had stumbled across alt-pop artist, producer and DJ Maisi and the Disco and her latest single, “Madonna”.

And what a delicious little discovery this turned out to be.

Because while “Madonna” is, on the surface, an electrifying love letter to the Queen of Pop, there is considerably more going on with Maisi. She is also co-founder of LOUD LDN, a collective supporting women and non-binary musicians, as well as The Cxnty School Disco, a club night.

Basically, she isn’t just making the soundtrack to the party; she is helping create the party too. And I am very much here for it.

Now, back to “Madonna”.

The sing-speak delivery immediately had me thinking of Luciana, Charli xcx and Lily Allen, while the whole production has that gloriously cocky, knowingly naughty pop energy that makes it almost impossible not to turn the volume up.

And lyrically? Well, subtle this is not.

Quite frankly, I respect the ambition.

Then Maisi gets properly stuck into her Madonna fantasy:

“I wanna, I Wanna, I Wanna dance like Madonna. Flip my hair like Madonna Get hung up, Dress it up, want to ##** like Madonna. I want to vogue like Madonna. Say a prayer like Madonna, get hung up, dress it up, want to ##** like Madonna”

It is camp. Cheeky. It is knowingly provocative. Most importantly, it is fun.

There is something wonderfully cheeky about the whole thing. It doesn’t simply reference Madonna; it embraces the mythology, the attitude and the sheer audacity of wanting to become a pop icon yourself.

So, if your algorithm hasn’t already introduced you to Maisi and the Disco, consider this your nudge. Give “Madonna” a spin on your favourite platform.

Because, as the kids say, it slaps.

And frankly, any song that makes me want to flip my hair, strike a pose and reconsider my own pop-star potential before I’ve even finished my first listen has earned its place in the EQ discovery department. Consider this rabbit hole officially worth falling into.

Maisi and the Disco

Instagram:  https://www.instagram.com/maisiandthedisco

The post EMERGING ARTIST: Maisi and the Disco – “Madonna”: is giving major pop icon energy appeared first on EQ Music.

There are certain sounds that immediately trigger a very specific pop-cultural memory, and within the opening moments of Lostchild’s new single “Running (You You You)”, I genuinely thought we might be heading dangerously close to full-on Crazy Frog territory.

Thankfully, we don’t.

Instead, Lostchild cleverly repurposes that ridiculously infectious, slightly chaotic electronic hook into something considerably more sophisticated: a soaring slice of crying-on-the-dancefloor queer pop that somehow manages to sound euphoric while its protagonist is emotionally falling apart.

And, actually, that instantly recognisable little sonic earworm might prove to be one of the song’s smartest weapons. Market this correctly to the gays — TikTok, reels, dance clips, the whole lot — and “Running” has genuine viral potential.

Listen on Spotify

Listen on Apple Music

Beneath all that glossy dance-pop energy, though, Lostchild is once again doing what he does particularly well: mining the less glamorous realities of gay life for something painfully relatable.

Growing up gay in a small UK town without much interaction with other queer people, Lostchild eventually escaped to the big city carrying those familiar rose-tinted expectations of what finally finding love might look like. “Running” captures that first dizzy rush of falling for somebody while simultaneously ignoring every enormous flashing sign telling you they don’t quite feel the same way.

Essentially: ignorance is bliss, so turn the music up and keep dancing.

It continues a fascinating emotional progression from the toxic relationship games of “L V S T” and the middle-of-the-night existential spiral of “Never Sleep”, a track that found Lostchild turning crippling anxiety into dark, sharply produced pop.

Long-time EQ readers will know that our love affair with Lostchild stretches back considerably further than that. We first fell hard for his beautifully personal electronic pop through songs like “Town”, where those experiences of growing up gay and feeling like an outsider were already front and centre.

Then came “Like Like”, arguably one of those Lostchild songs that crystallised why we became such committed supporters in the first place: vulnerable songwriting, enormous heart and melodies that lodge themselves somewhere between your head and your chest.

There are plenty more gems scattered through the EQ archives too, including “Blind” and “Lifeline,” both early examples of his knack for wrapping deeply emotional storytelling inside deceptively inviting electronic pop.

What makes “Running (You You You)” feel especially lovely now is that Lostchild isn’t creating it alone. The track was written with TIN, who also happens to be Lostchild’s partner in crime in real life. Quite frankly, they remain one of our favourite little independent gay-pop power couples, and hearing those creative worlds continue to overlap is rather adorable.

Even better, both Lostchild and TIN return to the EQ Music stage on 29 October for our Emerging Artist Showcase at The Camden Club alongside Jamie She and T Priestly, with tickets available now via EQMusicEvents.com.

And because apparently having him back on our stage wasn’t quite enough Lostchild for us, he’ll also be gracing the cover of the next EQ Music Zine. Copies will be available at the showcase, followed by online availability afterwards.

So yes, come for the infectious Crazy Frog-adjacent moment.

Stay for the heartbreak, emotional damage and impeccable gay pop melodrama.

Lostchild continues to capture the heart of independent queer pop beautifully — and “Running (You You You)” might just be one of his most immediately addictive releases yet.

Written by Lostchild and TIN.
Produced, mixed and mastered by Lostchild.
Photography by ScallyWag Fox.

The post Lostchild Turns Heartbreak Into Euphoric Queer Pop on “Running (You You You)” appeared first on EQ Music.

There are some collaborations that make you stop and think, yes, actually, this makes perfect sense. MEEK joining forces with Purple Disco Machine is one of them.

MEEK has been one of those artists I have been watching steadily rise, carving out her own corner of the alt-pop world while building a fabulous fandom around songs that champion individuality, self-expression and knowing exactly who you are. With her momentum continuing to grow and tastemaker end-of-year recognition looking increasingly within reach. It feels like the perfect moment for MEEK to step into a rather different musical playground.

That playground happens to belong to Grammy Award-winning producer Purple Disco Machine.

For “Test My Luck”, the first release from his upcoming fourth album “Cosmotropia”, Purple Disco Machine welcomes MEEK into his glittering disco universe. And I have to say, I rather like the pairing.

Purple Disco Machine has become synonymous with shimmering, feel-good disco. Where he brings together an enviable list of collaborators while effortlessly borrowing from the sounds and styles of the 80s. “Test My Luck” doesn’t necessarily scream cosmic adventure just yet, but it does deliver something equally important: that instantly uplifting Purple Disco Machine magic that makes you want to move before you have even finished listening.

There is a deliciously nostalgic quality running through the track, but MEEK prevents it from becoming a simple trip down memory lane. Her presence injects a contemporary alt-pop energy, creating that rather wonderful sweet spot where the past and future collide.

And yes, I can absolutely imagine this one sneaking its way onto New Year’s Eve playlists. It has that celebratory quality that says forget the resolutions, turn the music up. Better still, “Test My Luck” feels like one of those rare dance records that doesn’t care what generation you belong to. If there is a beat, there is a reason to dance.

The single also kicks off a bigger new chapter for Purple Disco Machine. Alongside “Cosmotropia”, he will take his disco spectacle on a full European live tour in autumn 2027, complete with band, dancers and vocalists. The German dates are already announced, with fan pre-sale underway and general tickets following on October 7th. More European dates are expected soon.

For MEEK, this feels like another sparkling step forward. For Purple Disco Machine, it is another reminder that disco never really goes out of fashion — it simply finds a new pair of dancing shoes. And judging by “Test My Luck”, MEEK looks rather fabulous in them.

Connect with Purple Disco Machine

Facebook: https://www.facebook.com/purplediscomachine

Instagram: https://www.instagram.com/purple_disco_machine/

Connect with MEEK

Instagram: https://www.instagram.com/mustbemeek

The post Purple Disco Machine welcomes MEEK into his disco world with “Test My Luck” appeared first on EQ Music.

I do love a new pop discovery, especially when an artist arrives sounding like they have already been handed the emotional instruction manual — and then promptly decided to reveal in it. Swedish newcomer Dandelion first grabbed my attention with “ONONON“, a dark, commanding piece of pop wrapped around the bittersweet chaos of a breakup and the business of letting go. Now she is back with “Scissors”, and this time the cutting gets considerably more personal.

Dandelion recently announced her debut album, “My Sadness Needs Your Full Attention”, which will arrive in two parts. Part I lands on October 30th, with Part II following in spring 2027. So, naturally, another single was always going to be welcome. What I wasn’t quite prepared for was Dandelion turning the emotional spotlight directly back on herself.

“Scissors” is about wanting to walk into a new relationship without dragging every piece of emotional baggage from the previous one behind you. Sensible, right? Unfortunately, the human psyche isn’t quite as cooperative as we’d like. You can’t simply grab a pair of scissors, snip out the painful bits of your history and stroll off into the sunset with a clean slate.

If only.

Instead, Dandelion confronts the much more frustrating reality that healing means accepting what happened rather than pretending it didn’t. And musically, there is something deliciously Scandinavian about the whole thing. I can hear echoes of Tove Lo, particularly the dark vulnerability that made ‘Habits (Stay High)’ such an arresting introduction back in 2014.

That comparison feels increasingly appropriate because Dandelion, like Tove Lo, seems to understand that vulnerability can be pop’s secret weapon. Give me an artist willing to make the messy bits part of the story over another perfectly airbrushed heartbreak anthem any day.

Dandelion sums up the thinking behind “Scissors” perfectly:

“Healing isn’t rewriting your history. You can’t cut out the parts of yourself you wish had never happened. The only way forward is to accept that your history belongs to you. It shaped you, but it doesn’t have to decide what happens next. You can’t change what was. You can only change what’s to come.”

Put ‘ONONON’ and ‘Scissors’ together and the emotional blueprint for “My Sadness Needs Your Full Attention” is starting to emerge. This isn’t shaping up to be an album about magically fixing yourself. It’s about living with the plot twists, questionable decisions and emotional scars — and figuring out where to go next. Basically, Dandelion is proving that sometimes the baggage doesn’t need throwing away. It just needs a better seat on the journey.

Connect with Dandelion

Instagram:  https://www.instagram.com/dandelionhi/

The post Dandelion Gets Personal With New Single “Scissors” appeared first on EQ Music.

When Lanterns was initially pitched as a sort of buddy-cop True Detective set in the American Midwest, I wasn’t entirely sure how that would work within the Green Lantern universe.

Turns out, it works brilliantly.

Instead of spending ridiculous amounts of money trying to create a fantastical cosmic playground every week, HBO’s Lanterns brings everything crashing back down to Earth. New recruit John Stewart and veteran Hal Jordan are essentially two cops investigating something very strange in small-town America — and the decision to make this a grounded murder mystery gives the series a personality completely its own within James Gunn and Peter Safran’s expanding DCU. That’s pretty much exactly how HBO described the premise from the beginning: two intergalactic cops investigating a dark mystery in the American heartland.

And thank God somebody realised that character is considerably more interesting than another hour of CGI buildings exploding.

Aaron Pierre is the revelation here.

His John Stewart has presence without needing to constantly announce it. Pierre brings an extraordinary stillness to the character, gradually letting us understand the emotional machinery operating underneath. By the time John really begins questioning what being a Green Lantern actually means, you’re completely invested in him.

He’s perfect casting.

Opposite him, Kyle Chandler’s Hal Jordan is much more unpredictable — cocky, spunky, damaged, funny and frequently difficult to read. There’s enough instability bubbling underneath Hal that comic fans may find themselves wondering whether the DCU could eventually explore his infamous connection to Parallax. That’s an especially fun possibility considering the much-maligned 2011 Ryan Reynolds Green Lantern movie used Parallax very differently as its primary villain.

But Lanterns isn’t particularly interested in giving us easy heroes and villains.

The idea I loved most throughout the series is essentially: despite your programming, you can still choose humanity.

It’s woven beautifully through John, Hal, the Green Lantern Corps and particularly the Manhunters. What you’re created to be doesn’t necessarily have to dictate what you become.

And that’s a surprisingly universal message for a series populated by intergalactic police officers, ancient alien organisations and murderous artificial beings.

Perhaps being human isn’t about being inherently good. Maybe it’s about having the capacity to choose good despite everything telling you otherwise.

That’s where Lanterns becomes something much richer than superhero television.

It also fits beautifully into Gunn’s DCU because it doesn’t try to duplicate the colourful insanity of Superman. Instead, it gives these characters a grounded emotional foundation first, so when they’re eventually dropped into something much bigger and more fantastical, we already understand who they are.

And that’s why I’m particularly excited to see John Stewart alongside Guy Gardner as the DCU continues expanding. Nathan Fillion’s deliciously obnoxious Guy already represents a completely different kind of Lantern, and John’s journey now gives Gunn another deeply established personality to throw into that mix. John is expected to continue into the Superman follow-up Man of Tomorrow, which DC Studios has slated for release on July 9, 2027.

Rather cleverly, Lanterns doesn’t really feel like homework for another DC project.

It feels like a great HBO crime drama that just happens to have Green Lantern rings in it.

And that’s exactly why it works.

EQ Music / Boys On Film verdict: Highly recommended.

Watch Lanterns on HBO Max.

The post TV Review: Lanterns Is the Gritty, Human Green Lantern Story We Didn’t Know We Needed appeared first on EQ Music.

There’s a particular warmth and sensuality running through Mexican filmmaker Rafael Ruiz Espejo’s The Last First Time (El Fin De Las Primeras Veces) that immediately brought to mind something of the spirit of Y tu mamá también. Not because the films necessarily tread exactly the same ground, but because both understand how desire, youth and self-discovery can become tangled together in ways that feel exhilarating, confusing and occasionally heartbreaking.

The film follows 18-year-old Eduardo (Alejandro Quintana), who leaves his small hometown and travels to Guadalajara to sit his university entrance exam. Away from his mother’s watchful eye and suddenly presented with the anonymity and possibilities of a much bigger city, Eduardo finds himself entering a world he has seemingly only imagined from a distance.

After meeting a group of queer club kids, what begins as a relatively ordinary trip quickly becomes Eduardo’s gay coming-of-age awakening.

And The Last First Time certainly doesn’t shy away from the awakening part.

There’s a sensuality to the film that feels refreshingly matter-of-fact. Sex and physical desire are allowed to be part of Eduardo’s story without immediately becoming a morality lesson. Yet underneath those encounters is the much more interesting emotional turmoil of a young man caught between wanting to “do the right thing” — or perhaps what he has been taught is the right thing — and the increasingly irresistible urge to surrender to desires he is finally being given the freedom to explore.

That push and pull is where Alejandro Quintana’s performance works particularly well. Eduardo isn’t suddenly transformed into someone fearless simply because he has discovered queer nightlife and attractive boys. There’s hesitation, curiosity, guilt, excitement and vulnerability all competing for space, which makes his journey feel recognisably human rather than engineered as another tidy coming-out story.

The queer crowd Eduardo encounters also gives the film some of its most infectious energy. There is something wonderfully familiar about being young and discovering your people — particularly when you come from somewhere where queer life may have previously seemed distant or inaccessible. A night out can suddenly feel like an entire new universe opening up in front of you.

Director Rafael Ruiz Espejo has said he wants to tell stories about sexual and gender diversity without censoring them or making them more comfortable for heteronormative audiences, and that attitude is very much present here. The Last First Time isn’t particularly interested in explaining queerness to anybody. Eduardo’s attraction, sexual curiosity and contradictions simply exist as part of his life.

That alone makes the film feel quietly refreshing.

Something else I particularly appreciated was simply seeing Mexico presented through a different cinematic lens. So much mainstream film and television still seems determined to reduce the country to drug cartels, violence and dusty crime-thriller backdrops. Here, Guadalajara becomes somewhere vibrant, youthful, beautiful and diverse — a place filled with music, nightlife, sexuality and possibility.

For anyone who already loves Mexican cinema, that makes The Last First Time even easier to recommend.

At just 76 minutes, the film is a relatively intimate piece rather than some sprawling queer epic, but perhaps that suits Eduardo’s story. These aren’t necessarily the experiences that define the rest of his life. They’re the first nights, first attractions, first sexual experiences and first heartbreaks that begin to show him what that life might actually look like.

And sometimes those first times are the ones we remember most.

EQ Music recommends.

The Last First Time (El Fin De Las Primeras Veces) is directed by Rafael Ruiz Espejo and stars Alejandro Quintana, Carlos E. López Cervantes and Pabel Castañeda. The film is available now on streaming platforms internationally.

Amazon UK
AppleTV
YouTube

The post Film Review: The Last First Time appeared first on EQ Music.

A song can arrive with a performance video, a lyric clip, a teaser, a live session or a visual world that follows the artist through an entire campaign. Those formats ask different things of a creator. A polished performance depends on capturing the singer convincingly, while a short visual teaser may depend more on a memorable image and a readable cut. Choosing software becomes easier when the release plan is clear before the first application is opened.

The following shortlist looks at seven tools by the production role they can support. It is not a side-by-side technical benchmark, and the order is not a claim that one product is best for every musician. Check current features, account restrictions, pricing and licenses directly before paying or publishing. Most importantly, keep the music, performances and artwork under proper permission. A compelling visual should support an artist’s identity without borrowing somebody else’s face or creative work without consent.

1. Magic Hour for developing a visual direction

Magic Hour is an option to explore when a musician has a sound and a mood but has not yet settled on the moving image. An AI video generator for music visuals can become part of that early discussion: a way to try a short visual idea, examine the atmosphere and decide whether it belongs in the campaign. Think of the result as material to evaluate, not an automatic finished music video.

A useful starting brief describes a single shot rather than an entire dramatic plot. Specify the subject, the setting and the movement that matters. A slow view of a deserted dance floor asks a different question from an abstract color sequence built around a chorus. Compare a few restrained ideas, then decide which one genuinely reflects the track. If an output contains distracting objects or awkward movement, revise the concept or remove the clip rather than treating the error as a stylistic choice by default.

This route is most relevant when experimentation is the immediate need. It is less suitable as a promise of exact continuity or a substitute for an authentic performance. Generated imagery should be reviewed for rights and misleading implications, and collaborators should understand which references are AI-assisted. The artist remains responsible for the meaning of the final visual.

2. DaVinci Resolve for editing and finishing the full sequence

Once there is footage to assemble, a dedicated editing environment becomes important. DaVinci Resolve is a candidate for a release that needs a coherent cut and consistent image treatment. Its role is different from making a visual sketch: the editor must organize the complete sequence, control transitions and make the images feel connected across the length of the song.

Begin with a dependable copy of the chosen audio master and keep alternative versions clearly labeled. Build a rough cut that explains the idea before concentrating on individual visual effects. Check how the edit feels during a verse, a build and the final chorus. A transition that works once may lose its effect when repeated throughout the track. Confirm hardware requirements and the differences between available editions using current documentation before committing to a tight release date.

3. Adobe Premiere Pro for an existing creative-team workflow

Premiere Pro is worth considering when an editor or wider creative team already uses Adobe applications. Familiarity with project organization and revision can matter more than an unfamiliar feature list. The right question is whether the people producing the video can exchange files, implement notes and export the required versions reliably within the budget.

Agree on who can change the timeline and how feedback will be consolidated. Separate essential corrections from preferences that can wait until the cut is stable. Save reference exports for significant revisions so the artist can compare the actual alternatives. Account for ongoing software costs and the work required to prepare vertical, square and landscape outputs; a single finished timeline does not guarantee that every version will be equally readable.

4. Blender for a deliberately built animated world

Blender offers a route to custom three-dimensional scenes and animation for a music campaign. It can be relevant when the project needs a repeatable environment or a camera movement that the creator wants to design explicitly. The advantage is control, but that control comes with a learning curve and considerable production time.

A small team should start with one representative segment. A basic scene with simple lighting can answer whether the idea supports the music before anybody spends days on detailed textures. Think about visual repetition as part of the composition: a restrained animated motif may communicate more clearly than a constantly changing collection of effects. Preserve license details for any downloaded models or materials, and avoid assuming that an asset being easy to download makes it free for a commercial release.

5. Canva for campaign artwork and supporting layouts

Canva is an option for planning the supporting visual language around a release. Artwork layouts, announcement graphics and other simple promotional pieces should feel like part of the same project. Even when a designer will produce the final assets, a clear rough layout can help the artist explain the intended hierarchy and mood.

Use readable typography and review the artwork at the small sizes where listeners will actually encounter it. Check whether important text disappears against a busy image. Verify the rights associated with templates, fonts and stock material for the intended use. A consistent palette and a small number of thoughtful assets will usually be easier to manage than an unrelated design for every platform.

6. CapCut for focused short-form promotional cuts

CapCut can be evaluated for the shorter edits surrounding a music release. A social teaser has a narrower task than the official video: give a listener a reason to stop, hear the song and understand what to do next. That means the creator should choose an excerpt for its own purpose rather than automatically using the first seconds of the full-length clip.

Review captions, framing and any text on the actual target screen shape. Keep the artist visible when that is central to the idea, and avoid covering important visual information with unnecessary overlays. Check the current licensing terms for included music or other bundled materials. A promotional post should point listeners toward the artist’s release, not accidentally introduce music that the campaign does not have permission to use.

7. OBS Studio for behind-the-scenes explanations and live presentations

OBS Studio is a candidate when the artist wants to record a screen-based walkthrough or present a live discussion. It is not a replacement for the music-video editor, but it can support a separate behind-the-scenes piece about the visual concept, the arrangement or the production decisions. Such material should offer insight rather than simply record an unstructured work session.

Prepare a short outline, check the microphone and hide private messages before recording. If project screens show unreleased material, decide in advance what can be public. A clear explanation of one creative decision can be more engaging than a lengthy account of every technical step. Keep consent in mind when guests or collaborators appear in the presentation.

Choosing a workable release stack

Start with the deliverable, the audience and the amount of work the team can sustain. An experimental visual direction may benefit from generated references, while a performance-led video may depend on strong footage and careful editing. An animated campaign needs time for scene building; short promotional posts need disciplined choices about excerpts and screen formats.

Before committing, complete one small representative task with material that you own or have licensed. Assess preparation time, revision effort, output restrictions and how clearly the result communicates the song. Keep a record of asset sources and approvals. The best set of tools is the one that helps an independent artist release a coherent project without losing control of the identity, the rights or the schedule.

The post Best Video Tools for Independent Music Releases: A Practical Seven-Part Shortlist appeared first on EQ Music.

I’m going to allow myself a tiny moment of smugness here because I knew “Payola” deserved its moment. When I first heard Bentley Robles’ debut album “Olympus”, this was the track that immediately grabbed me by the ears and refused to let go. So, imagine my delight when Bentley singles it out as a focus track. Honestly, just before he heads out on tour is pretty much perfect timing.

It turns out I wasn’t alone in my “Payola” obsession either. Bentley’s fans have been making their love for the track rather obvious, and I completely understand the fuss. It’s catchy, infectious and has exactly the kind of hook that makes you want to sing along before you’ve even realised you’ve learnt the words.

But beneath all that irresistible pop sparkle, Bentley has something rather deliciously shady to say.

Payola” takes aim at the fame-hungry characters willing to resort to unscrupulous tactics to get ahead — including the murky business of paying for playlist inclusion and radio plays. Because, let’s be honest, when the craving for fame kicks in, apparently there’s no shortage of ways to try and buy your way to the top.

As Bentley sings…

“I’ll kiss you and you can be my little shortcut. Come take my clothes off, pay, payola, Make it a hit. Take the weight of my shoulder, Come take a load off. Pay payola,”

It’s cheeky, provocative and knowingly naughty, while delivering a rather pointed swipe at the machinery behind the music industry. And now “Payola” has been given even more life with a remix featuring Canadian singer-songwriter Ralph, who adds a new verse exploring that seedier pursuit of fame.

And frankly, why stop there?

With the “Olympus” tour kicking off in Los Angeles on October 20th, Bentley is about to take this world from the speakers to the stage. He’ll also be bringing it to London, with a date at Paper Dress Vintage on November 4th.

So yes, I’m pleased “Payola” got its moment. Sometimes your favourite track picks itself — and occasionally, the universe has the good taste to agree with you. Now excuse me while I go play it again. For research purposes, obviously.

Connect with Bentley Robles

Instagram: https://www.instagram.com/bentleyrobles/

Connect with Ralph

Facebook:  https://www.facebook.com/songsbyralph

Instagram:  https://www.instagram.com/songsbyralph

The post Bentley Robles “Payola” Remix Featuring Ralph Is Here appeared first on EQ Music.

Rose Gray really doesn’t appear to believe in taking her foot off the accelerator. After an exceptionally busy 2025, the dance-pop darling has somehow managed to keep that momentum rolling throughout 2026. And honestly, I’m beginning to wonder when this woman actually sleeps.

Following her headline world tour in May, Rose wasted little time getting back into the swing of things. This summer brought us the uplifting “Club to Your Arms”, followed by the shimmering and emotionally charged “Just Be Bodies”, her collaboration with in-demand songwriter Justin Tranter. Now comes a third new track, “Blink Twice”. Suddenly I’m getting the distinct feeling that Rose is dropping breadcrumbs towards something rather bigger.

She’s hardly disappearing from our radar either. Rose will support Tove Lo as the “Estrus” tour reaches Europe through November, meaning her performance calendar remains suitably packed. So, naturally, my mind is already wandering towards the possibility of that elusive sophomore album appearing once the touring dust settles.

Nothing is official, of course. But three new songs in relatively quick succession? I’m not saying Rose is teasing a new era, but… she’s absolutely teasing a new era.

“Blink Twice” also lands on the EA Sports FC 27 soundtrack, another rather lovely indicator of Rose’s growing profile and her status as one of pop’s increasingly exciting names to keep an eye on.

The track was inspired by the whirlwind of Rose’s 2025 experience. The kind of year where suddenly the life you dreamed about is actually happening.

Rose explains:
“sometimes it hits me that i’m actually doing everything i ever dreamed of..touring the world, making music, playing the clubs i used to wait in line for. with all of that comes a little bit of fear too. i want it so bad, and i also don’t wanna lose it. blink… and you might just miss it. i wanted to write a song about it.

And because Rose has previously spoken about imagining her visuals while writing her songs, “Blink Twice” arrives with a suitably exuberant video directed by Ben Cole. It captures Rose in carefree abandon, chaotic energy and all — which, frankly, feels entirely appropriate.

There’s even a little nostalgic pop mischief in that “blink twice” refrain. I notice echoes of Bodyrox “Yeah Yeah” and Luciana’s unmistakable command, before Rose makes it entirely her own.

So if Rose really is preparing to usher in her next era, I suspect we’ll need to keep our eyes firmly open — because with this much momentum, blink once and she might already have released the album.

Connect with Rose Gray

Facebook: https://www.facebook.com/rosegrayyy/

Instagram: https://www.instagram.com/rosegray_/

The post Blink and you might miss her… Rose Gray returns with “Blink Twice” appeared first on EQ Music.

There are some artists who seem to have been part of the pop landscape forever. They quietly pop up in the credits, behind the drums or alongside some of our favourite names, before eventually stepping fully into their own spotlight. Florrie is very much one of those artists. From her Xenomania days to becoming a formidable songwriter, drummer and producer in her own right, she has accumulated quite the pop CV. And I’m rather enjoying watching this next chapter unfold.

2024 saw Florrie finally release her highly anticipated debut album, “The Lost Ones”. Yet, following the acclaim that greeted it, she clearly wasn’t interested in hanging around. Her sophomore album, “Magic for a While”, arrives on 16th October, giving us another glimpse into an artist who seems increasingly comfortable doing things entirely on her own terms.

And when you have worked with the likes of Girls Aloud, Kylie, MNEK, MEEK, Tove Lo, The Gossip, and One Direction. While also drumming on some monumental pop records. There’s little doubt that Florrie knows her way around a great pop song.

But it’s her own music that has been catching my ear lately.

Of the recent releases I’ve heard, I keep coming back to “Magic for a While”. There’s something wonderfully nostalgic about it. Dreamy, wistful and glowing around the edges. The track feels like the musical equivalent of those final golden evenings of summer before autumn properly arrives.

It also captures that slightly complicated feeling of knowing something beautiful might not last. The song explores relationships through hindsight, regret and acceptance, finding that delicate emotional space between wanting to hold onto something and understanding that perhaps it is time to let go.

peaking about the album title, Florrie explains, “When I’m having a really beautiful time, where I feel really happy, or I’m connecting emotionally with something, I always have a tiny sense of sadness before it’s over. There’s a lot of nostalgia on the record… lots of the songs have that feeling of impermanence in life, or being at crossroads.”

That description feels like the perfect introduction to “Magic for a While”. Sometimes pop just needs to capture a fleeting feeling, wrap it in a dreamy melody and leave you staring wistfully out of the window for no particular reason. Florrie, it seems, has found exactly that magic.

PRE-save/order album “Magic for a While”  released on 16th October via BMG and Xenomania Records.

Connect with Florrie

Facebook:  https://www.facebook.com/florrie.music/

Instagram:  https://www.instagram.com/florrie/

The post Florrie’s “Magic for a While” Is Dreamy Nostalgic Pop appeared first on EQ Music.