Massachusetts duo Boy Harsher enters a new chapter with the release of their latest album “Get Mean”. Subsequently marking their debut album through Atlantic Records. It is a record arriving at a particularly personal crossroads for Jae Matthews and Augustus Muller, following the collapse of their romantic relationship.

Rather than shying away from the complicated emotions that come with such a significant ending. “Get Mean” explores redemption, grief, heartbreak and the painful process of finding a way to heal, let go and begin again.

Boy Harsher have an impressive knack for creating atmosphere from minimal ingredients, with pulsing beats and immersive synth textures forming the backbone of their sound. On “Get Mean”, those familiar ingredients feel even more potent. Dark electronic rhythms meet Matthews’ breathy vocals, creating something dreamy, ethereal and wonderfully gothic. An alt-disco-pop landscape where melancholy and movement can happily occupy the same dancefloor.

Ahead of “The Heartbreak Tour”, the duo share a visual for “Faulty”, one of the album’s more musically upbeat moments. There is an irony in hearing such a danceable track emerge from such a painful chapter. However, perhaps that is exactly where Boy Harsher thrive.

The song circles the uncertainty of a relationship ending:

“Do you find me faulty, hardly or partly. Do you think I’m sorry. Softly. Don’t stop me. Will I know what hit me, hit me, hit me. Are we better off alone”

Directed by Boy Harsher with Owen Smith Clark, the video places people together in one dark, moody room. They are captured swaying and dancing almost as though caught somewhere between connection and isolation.

Matthews describes “Faulty” as a personal favourite, explaining that she actually wrote it around two years ago while staying near Astoria, beside the cold Pacific Ocean. For the visual, she wanted to revisit the same room and scope of their previous Calvin Klein advertisement tribute, this time adding dancing: “Alone + alone together”.

That phrase feels like it could almost be the emotional key to “Get Mean”. There is loneliness here, certainly, but also movement, release and the possibility of beginning again.

With “The Heartbreak Tour” now approaching, (including UK dates in London, Manchester, Glasgow and Bristol), Boy Harsher are taking this deeply personal chapter out into the world. And with their debut feature film “The Lonely Woman” also in the works, (starring Chloë Sevigny, FKA twigs, Sturgill Simpson and Will Oldham), this new era already feels like it is opening into something much bigger.

For me, “Get Mean” is a reminder that heartbreak is usually messy, beautiful and strangely danceable. Sometimes you don’t heal by standing still. Sometimes you turn up the synths, find the beat and dance straight through the wreckage.

Now go grab a listen to “Get Mean” – here

Connect with Boy Harsher

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

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

The post Boy Harsher Turn Heartbreak Into “Faulty” From album “Get Mean” appeared first on EQ Music.

The “Stage Girl” era may have already reached its conclusion in the US, but Eli isn’t quite ready to close the curtain just yet. With the singer having wrapped her American shows and recently unveiled a deluxe edition of her debut album (“Not a Dream Anymore“). It feels entirely appropriate that one more song from this defining era arrives before Eli brings “Stage Girl” to Europe and the UK from October 8th.

Enter “The Comeback”, a tender pop ballad that finds Eli in one of her most vulnerable spaces yet.

Centred around the obsessive thoughts that can linger around a special someone. “The Comeback” explores the complicated ache of feelings following a messy breakup. It is romantic, but far from straightforward. Because, really, when have matters of the heart ever been uncomplicated?

What strikes me most is how Eli makes softness feel like her greatest strength. Rather than reaching for grandiose pop theatrics, “The Comeback” sits comfortably in its vulnerability, allowing the emotion and sincerity of the storytelling to take centre stage. There is something wonderfully intimate about hearing an artist wrestle with feelings that aren’t necessarily neat, resolved or particularly rational.

I find myself thinking of Ariana Grande, Conan Gray’s “Wishbone” era and Troye Sivan’s “Blue Neighbourhood” when listening. Not because Eli is simply recreating those sounds, but because there is a similar commitment to vulnerable lyricism, soul-searching narratives. Subsequently, allowing complicated emotions to exist without neatly tying them up in a bow.

And perhaps that is why “The Comeback” feels like such a fitting final chapter to the Stage Girl era. After all the glitter, ambition and spectacle, Eli leaves us with something much softer. A song that feels like looking back at a relationship through the rear-view mirror, knowing full well you probably shouldn’t turn around, but doing it anyway.

Sometimes the most powerful comeback is simply admitting you never quite stopped feeling it.

Connect with Eli

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

The post Eli’s “The Comeback” Is a Soft, Vulnerable Finale to the “Stage Girl” Era appeared first on EQ Music.

After a brief spell of teasing, Chvrches are officially back, launching a new era with “Roses”. And what better way to announce their return than with the track earning Jack Saunders’ Hottest Record on BBC Radio 1’s New Music Show!

It has been five years since we last had new music from the Scottish electronic-pop trio, and judging by “Roses”, Chvrches haven’t spent that time simply retracing their footsteps. The build-up to the track hinted at something darker, and the finished result certainly delivers.

There were already glimpses of this shadowier side on 2021’s “Screen Violence”, most notably through the brilliantly haunting “How Not To Drown”. (Their collaboration with Robert Smith of The Cure). That darkness has continued to seep through the members’ individual creative adventures too, with Lauren Mayberry exploring an alt-pop direction through her solo work. While Martin Doherty formed The Leaving with Johnny Scott, venturing into a heavier sonic universe.

Now, “Roses” brings those threads together.

It isn’t just the production that feels darker. Lyrically, the track carries a pointed social commentary, with Mayberry explaining to Jack Saunders that “Roses” grew from the lyric “A woman is a woman even if you want her dead”. It is an arresting starting point for a song that looks directly at some of the uglier realities of the world around us. And especially, with its social commentary landing against an increasingly charged political backdrop.

As Mayberry explains:

“This is the longest break we had ever taken between albums and when we got together to write new music, we wanted to really push ourselves and not be retreading ground we’d walked before.

“I really think we achieved that. It feels like the most coherent vision we’ve had as a band. We’re excited to be back…”

And honestly, that excitement is infectious. “Roses” feels less like Chvrches returning to where they left off and more like them throwing open a new door. Specifically, one that happens to lead somewhere considerably darker.

Watch the lyric video, directed by Harv Frost with VFX from Dobermann, and keep your eyes peeled for more. Chvrches will celebrate their return with two very special Glasgow and London events this October. The venues remain secret for now, but fans can sign up for the ballot for tickets.

Five years away, and Chvrches have returned with roses that definitely have a few thorns. Consider this new era officially blooming.

Connect with CHVRCHES

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

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

The post Chvrches Unveil “Roses” as They Enter a Darker New Era appeared first on EQ Music.

Sometimes the most exciting pop songs are the ones that refuse to play by the rules. Gus Dapperton’s “Queen” certainly seems to have received that memo, arriving in a glorious rush of guitar, attitude and colourful sentiment. Beneath its playful indie-pop exterior sits a pointed frustration with masculinity and the state of the world — but rather than becoming weighed down by it, Dapperton turns that frustration into something wildly catchy, wonderfully unruly and, quite frankly, impossible to ignore.

The New York-based indie-pop singer-songwriter-producer returns with his first album in three years, “4 Dear Life”, a record that takes its title from the expression ‘holding on for dear life’. Dapperton describes the album as an “attempt to find hope in times of struggle”, and already I’m intrigued by the idea of where that sentiment might take him.

New taste “Queen” certainly doesn’t shy away from the struggle. In fact, it turns frustration into something opinionated and incredibly addictive. The song began with a set of guitar chords before evolving into the track Dapperton says he is most proud of — and listening to it, I can understand why.

Dapperton has spoken openly about his frustration with the state of the world and uses “Queen” to take aim at the pervasive nature of patriarchy and the expectations surrounding masculinity.

“I’ve been so pissed off the last couple years about the state of the world,” he explains.

What I particularly enjoy is the way that frustration doesn’t weigh the song down. Instead, Dapperton throws it into a colourful indie-pop blender, creating something that feels playful while carrying a very deliberate message. The hook imagines escaping gender expectations, with Dapperton singing:

“I wanna be one of the girls with hearts of gold we’re rocking diamonds and pearls looking pretty, wearing pink, thinking all of the right things. Aye this may be a man’s world, but no man is a king”

The accompanying video, directed by Dapperton himself, strips everything back even further. Seated in a chair with his guitar, he simply performs “Queen”. It is intimate and almost deliberately understated, allowing the vulnerability within the song to come into sharper focus.

Sometimes you don’t need a huge production to make a statement. Here, the simplicity feels like the point.

And perhaps that is what has left me most intrigued about “4 Dear Life”. Gus Dapperton is finding hope by turning frustration into colourful, unruly pop. “Queen” might be cathartic, but sometimes pent-up emotion is exactly where the most interesting ideas begin.

PRE-SAVE “4 Dear Life”

Connect with Gus Dapperton

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

X: https://x.com/gusdapperton

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

The post Gus Dapperton’s ‘Queen’ Channels Frustration into Addictive Pop appeared first on EQ Music.

I really enjoy about discovering an artist who refuses to follow the obvious route. Possibly Jamie has been quietly beavering away throughout 2026, perfecting more music for our listening pleasure. If his latest release is anything to go by, he certainly hasn’t been standing still.

Following 2025’s “Male Pattern Narcissism” EP, Jamie returned in April with “2000000Time.”, a track that suggested his musical world was becoming even more experimental. But alongside the adventurous production, it was Jamie’s narrative and lyricism that continued to grab my attention. There is always something to chew over, with his songs opening up conversations from a perspective that feels unmistakably his own.

Now comes “I Did It All For You”, and I think this might be one of those tracks that hits rather differently once you consider what sits beneath the beat.

Jamie has been pioneering his own brand of dance-pop in Scotland, bringing traditional Scottish instruments into electronic pop while championing other queer artists in the region and helping elevate Scottish music along the way. With this latest release, however, he turns his attention to something considerably more contemporary: the strange, exhausting and sometimes ridiculous reality of being an independent artist in the social-media age.

I read about this all the time from independent artists I follow. The music might be finished, but the work certainly isn’t. There are videos to make, posts to schedule, platforms to feed and audiences to keep engaged. Suddenly, being an artist also means becoming your own marketing department, publicist and content creator.

And I completely understand why Jamie has something to say about it.

“I did it all for you,” I stared into the mirror to shrink or get bigger to be less or be more “I did it all for you”. I lost myself to pretence starring down the white lines and belting out the blues”.

Then comes the line that really sticks with me: “without the attention I cease to exist”.

OUCH!

It is a brutally honest observation wrapped inside a track that ramps up the danceability. And perhaps that contradiction is precisely why “I Did It All For You” works so well. Jamie takes the pressure to constantly perform, promote and remain visible, then turns the whole exhausting circus into dance-pop.

Because sometimes you have to laugh, sometimes you have to scream, and sometimes you just have to dance your way through the algorithm. Possibly Jamie appears to be doing all three — and frankly, I’m here for it.

Tickets here – 24th September – Possibly Jamie performs at “Proudly Talented Presents” Two Brewers, London

Connect with Possibly Jamie

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

The post Possibly Jamie Takes Aim at Social Media With “I Did It All For You” appeared first on EQ Music.

I’m going to put my hands up and admit something: since Tove Lo set up her own label, Pretty Swede Records, and stepped away from Universal Records, I’ve found myself considerably more invested in what she’s doing. Is the change in circumstances the reason I’ve somehow regrouped with Team Tove Lo? I can’t say for certain, but I suspect it has something to do with it.

My renewed enthusiasm really kicked in around 2022’s Dirt Femme”, and since then I’ve been completely onboard with the “Estrus” era. Tracks such as the spellbinding “des fleurs”, her collaboration with Stromae, and dancefloor stomper “DNH” have particularly caught me. Both showcase that wonderfully contradictory Tove Lo magic: euphoria sitting alongside melancholy, desire wrestling with doubt, and feelings that rarely arrive in neat little packages.

Then there’s the album opener, which wastes absolutely no time setting out the manifesto: “a lot of feelings, no solutions”. Quite frankly, that could be the Tove Lo philosophy in four words. From there, “I’m your girl right?” slips into pulsing electro-pop territory, with Tove confidently exploring desire, yearning and bedroom fantasies. Nobody could accuse her of being coy.

That honesty continues across “Estrus“. Revenge track “I’m the Cake” is a particularly delicious example, delivering Tove’s trademark combination of wit, sex and emotional complexity:

“you want the cake and eat it too. Let’s get experimental. Am I not enough for you. When I’m the f#cking cake, cake, cake, cake, cake, cake. You should be eating me, me, me, me, me, me, me”

It’s gloriously ridiculous and wonderfully Tove.

“Are we on a break” is another standout, bringing a deliciously disco-leaning, Robynesque energy to the album while tackling the decidedly messier business of relationships, jealousy and trying to work out whether something is actually over.

And then comes “Source of Life”, the newest focus track and perhaps the most intriguing curveball. A celebration of womanhood and thoughts around procreation, it certainly feels like another shade of Tove Lo emerging. Is the perennial party girl contemplating a new motherhood era?

And maybe that’s precisely why “Estrus” has pulled me back in so completely. Tove Lo isn’t pretending to have life figured out. She’s dancing through the confusion, singing about the complicated bits and turning the unanswered questions into irresistible pop. With the Estrus tour heading to Manchester and London in November before continuing across Europe, I’m very happy to report that my membership of Team Tove Lo is officially renewed — and apparently there’s no expiry date on it.

To celebrate “ESTRUS” join Tove on YouTube today at 11am PT/2pm ET to watch all of the “Estrus” visuals together.

The visual world of “Estrus” is such a huge part of this album for me and I want to experience it with you – come prepared. Tove

Find “ESTRUS” here

Connect with Tove Lo

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

X: https://x.com/.com/tovelo

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

The post Tove Lo’s Estrus Era Finds the Swedish Pop Icon Still Searching for Answers appeared first on EQ Music.

What a year MEEK is having. The rising singer-songwriter has been responsible for some of the catchiest and most captivating pop tracks of the year, and what began as a viral moment with “Fabulous” has developed into something much bigger.

MEEK has been steadily gaining fans stateside, making TV appearances and joining Kesha’s North American tour as a support act. “Fabulous” has also made an impact across US radio and Billboard airplay charts, establishing MEEK as a pop force with plenty more to say. Subsequent releases “Beautiful Freeks” and “Expensive Taste” have only strengthened that reputation.

With her own headline tour looming for November and December, MEEK now adds another intriguing chapter to her rapidly expanding repertoire with “Terminally Verbal”.

I suspect “Terminally Verbal” has already been thoroughly road-tested during MEEK’s many festival appearances this summer. But where “Fabulous”, “Beautiful Freeks” and “Expensive Taste” arrived with their buoyant, colourful energy, this latest offering takes us somewhere considerably darker. There is an almost sinister allure running through the track, offering a decidedly different glimpse of MEEK.

And there is a deeply personal reason behind that shift.

“I spent so much of my life trying to make myself quieter. Less opinionated. More digestible.” MEEK shares “I’ve always been a loud person and it made me feel so judged and exposed all the time, and honestly afraid to speak out. When I started to understand my neurodiversity on a deeper level and who I am as a person, it was so painful to think I had been minimising that beautiful part of myself to make certain people more comfortable. Terminally Verbal is an acknowledgement that no matter who deems you ‘acceptable; or ‘palatable, you are who you are, and your opinions, emotions, and beliefs are absolutely valid and deserve space.”

MEEK’s creative vision extends into the official music video, which she shot and self-directed alongside friends and collaborators at Homoparody during a remarkably speedy five-hour shoot.

The result? Imagine MEEK as a dominatrix lecturer presiding over a classroom of students who appear to be caught somewhere between a trance and a particularly unsettling episode of Squid Game. It is unnerving, theatrical and wonderfully strange — precisely the response that she wants to provoke.

MEEK’s evolution continues at quite some pace. “Terminally Verbal” demonstrates that sometimes finding your voice means turning the volume up until the room has no choice but to listen. And frankly, I wouldn’t want MEEK any quieter.

Connect with MEEK

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

The post MEEK’s rise continues. Now “Terminally Verbal” brings a darker twist to her story. appeared first on EQ Music.

Rising queer alt-pop artist Be Like Milo celebrates the release of his new EP “Questions”, bringing its title track firmly into the spotlight. Across this latest body of work, Milo embraces a deliciously dark blend of pop, 80s synth nostalgia and experimental electronic production, while continuing to explore the messier, more complicated side of queer love.

And honestly, messy is where things get interesting.

Tracks including “Ready to Lose,” “Appetite” and “Wet Dream” navigate desire and self-awareness, connection and avoidance, euphoria and emotional risk. There is late-night escapism alongside obsessive and unrequited love, creating an EP that doesn’t attempt to tidy away the contradictions that can come with queer relationships and desire.

Instead, Be Like Milo leans into them.

Across “Questions,” those emotional complexities remain, but the perspective shifts. Rather than delivering the familiar dancefloor-styled mayhem that has become part of Milo’s appeal, the title track turns inward. This is the sound of the morning after, when the music has stopped, the adrenaline has faded and the mind inevitably starts replaying everything.

Self-doubt creeps in. So does the uncomfortable process of moving on.

Sonically, “Questions” is every bit as alluring as its subject matter. Its electronic textures ease listeners into the EP while creating space for Milo’s introspection to breathe. There is something particularly effective about placing such an inward-looking track at the centre of a project otherwise so comfortable with movement, desire and nocturnal abandon.

What I particularly enjoy about “Questions” is that it doesn’t pretend to have all the answers. Instead, Be Like Milo seems far more interested in sitting with the uncertainty. And perhaps that is the most honest thing about love — sometimes you leave the dancefloor with more questions than you arrived with.

Connect with Be Like Milo

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

The post Be Like Milo – “Questions”: Exploring Queer Love Through Pop appeared first on EQ Music.

Well, this is rather nice.

EQ Music has been named one of the Top 60 Pop Music Blogs in the world by Feedspot — and even better, we’re sitting proudly at #12 on the global list.

Yes. Number twelve.

That puts our little independent pop music operation alongside some fairly enormous company. Feedspot’s 2026 ranking has Billboard at #4, Pitchfork at #5 and The FADER at #6, with EQ Music landing at #12 — ahead of plenty of established international music publications.

For a blog that is still, for the most part, run by two people — Rajan Rudolph and Mandy Rogers — because we genuinely love discovering and championing great pop music, we’re incredibly proud of that.

Feedspot describes its annual list as a ranking of the most active, influential and valuable pop music blogs on the internet, taking into consideration factors including content relevance, subject expertise, posting frequency, freshness and credibility.

And consistency is probably the word that means the most to us.

Nearly two decades of believing in pop music

The roots of EQ Music stretch back to 2005, when Rajan launched the site originally known as Electroqueer.com, with Mandy joining as New Artists Editor in 2007 and helping transform it into the multi-writer music blog that became EQ Music. Since then, we’ve kept publishing. Week after week. Year after year.

Through MySpace, Facebook, Twitter, Instagram, TikTok, streaming, algorithms and whatever the internet decides to throw at us next, the basic idea behind EQ has never really changed:

Find exciting pop music. Write about it. Give talented people a platform.

We’ve interviewed hundreds of artists over the years, from emerging musicians giving some of their first interviews to names including Lady Gaga, Sia, Adam Lambert and MIKA, alongside countless independent artists who we believed deserved considerably more attention than they were receiving elsewhere.

And although our tastes have always wandered happily around pop, electronic and alternative music, supporting LGBTQ+ artists and the wider queer music community has remained fundamental to what EQ Music is about.

There are plenty of places online where you can read about the biggest song in the world.

We’ve always been rather more interested in telling you about the artist who might make the biggest song in the world next.

From webpage to stage

One of the things we’re proudest of is that EQ Music has never really been content to exist only on a screen.

Very early on, we started taking the artists we were writing about online and putting them in front of real audiences. That became EQ Music Live, and over the years it has grown into something much bigger than a traditional blog showcase.

For us, live events have always been a natural extension of the editorial side of EQ. If we discover an artist we truly believe in, why stop at writing about them?

In more recent years, we’ve had the pleasure of working on shows and events with artists including JORDY, Zee Machine, Bentley Robles, Dragonette, Betty Who, Bright Light Bright Light and Tom Goss — artists who represent exactly the kind of exciting, independent and LGBTQ+ pop music that has always been at the heart of EQ.

We’ve also expanded into producing drag events, working with RuPaul’s Drag Race queens Crystal Envy and Lana Ja’Rae to bring fun, music-led drag shows to London audiences.

And that’s really what EQ Music Live has become.

It isn’t simply about booking a venue and putting on a gig. It’s about giving artists another platform, creating welcoming spaces for queer performers and audiences, and turning the community we’ve built online into something people can experience together in a room.

Most recently, we’ve continued developing our live presence in Camden while also producing an official showcase during SXSW London.

Nearly two decades after we first started writing about emerging artists, there’s still something incredibly satisfying about watching somebody we’ve supported online walk onto an EQ stage and connect with an audience in real life.

For us, supporting an artist has always meant more than clicking publish.

The written word still matters

Over the years, EQ Music and its editorial voice have popped up in places we never really expected when we started writing about electropop on the internet.

Our work has been featured or referenced by publications including Music Week, and EQ’s commentary has appeared in or been cited by national UK media including The Guardian, Metro and Daily Star. Rajan was also selected by BBC News as an influential UK-based music editor and BBC Sound Of pundit for five consecutive years.

We’ve seen EQ mentioned around major music events, in industry publications and even in Billboard — which makes appearing only eight places behind Billboard on Feedspot’s pop music ranking particularly satisfying.

But this recognition also means something bigger to us because of what has happened to independent music journalism.

Every few years someone announces that blogging is dead.

Apparently nobody reads anymore. Everything needs to be a ten-second video. Music discovery belongs exclusively to algorithms. Reviews don’t matter. Interviews are content. Journalism is content. Everything is content.

We don’t really subscribe to that.

We still believe in the power of the written word.

We believe there is value in someone actually listening to a record, thinking about it and explaining why it deserves your attention.

We believe an interview can reveal something about an artist that a social media clip never will.

And we believe independent voices remain incredibly important in a music industry increasingly driven by platforms, playlists, metrics and algorithms.

Perhaps that’s why, after all these years, we’re still here.

Still independent. Still discovering.

There isn’t a giant editorial department sitting behind EQ Music.

Most days it’s still Rajan and Mandy, listening, watching, writing, debating what deserves coverage and getting excited when we stumble across something brilliant.

We’ve done it consistently since Mandy joined the blog in 2007, not because somebody told us that blogging was a particularly sensible business model, but because we love independent pop music and we love helping good artists find an audience.

So being recognised by Feedspot as the #12 Pop Music Blog in the world for 2026, sitting amongst publications of the scale and history of Billboard, Pitchfork and The FADER, feels like a rather wonderful acknowledgement of all those years of work.

To every artist who has trusted us with their music, every publicist who has sent us something genuinely brilliant, every performer who has stepped onto an EQ stage, every writer who has contributed over the years and – most importantly – everybody who has ever clicked onto EQ Music to discover something new:

thank you.

We’re proud of what we’ve built.

And we’re definitely not finished yet.

The post EQ Music Named One of the World’s Top Pop Music Blogs by Feedspot appeared first on EQ Music.

When an artist releases a hit that starts attracting serious attention, I always find myself wondering how they are going to follow it up. Do they attempt to recreate the magic, or do they take the opportunity to push their artistry somewhere new?

For Saint Micah, it seems very much to be the latter.

His recent release “The Grind” has made quite the impression, scaling the Music Week Commercial Pop Club Chart and currently sitting pretty at number 7. But while “The Grind” continues to gather momentum, Saint Micah is already looking ahead. “Papillon” becomes the sophomore offering under the Saint Micah moniker.

And there is plenty to pique my interest here. Alongside Young Jake, producer Cutfather, whose impressive credits include Kylie Minogue and The Pussycat Dolls, joins the cast on “Papillon”, adding another intriguing layer to Micah’s evolving pop proposition.

This transformation has been a fascinating one to watch. A collaborative partnership with producer Fernando Garibay, known for his work with Lady Gaga, helped open the door to new possibilities, encouraging Micah to step beyond his classical music background and embrace the possibilities of pop and EDM. Rather than simply changing direction, it feels more like he has expanded the musical palette available to him.

That newfound freedom comes through with aplomb across both “The Grind” and “Papillon”.

“‘Papillon,’ French for butterfly, is inspired by the feeling of getting butterflies in your stomach when you like someone new. I’ve had this experience a few times and I think many other people have, too,” shares Saint Micah. “I love the beautiful French-inspired piano bridge. It gives me butterflies.”

There is clearly plenty happening beyond the music too. Saint Micah has attracted attention from some major names across music and fashion, working with creatives including PhD, Nicola Formichetti and Zaldy, alongside luxury fashion houses and designers including Dolce & Gabbana, Alexander McQueen and Vivienne Westwood.

So, where does it all lead? An album? Live dates? Something altogether more unexpected? I have no idea, but Saint Micah certainly feels like an artist preparing for a bigger reveal. For now, “Papillon” feels like another colourful wingbeat in what could become a very interesting flight.

Connect with Saint Micah

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

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

The post Saint Micah “Papillon”: The New Pop Era is Taking Flight appeared first on EQ Music.