Musically, ‘Copenhagen’ pairs its introspective subject matter with spacious, ethereal indie pop. A steady, almost mechanical drumbeat provides the foundation, while understated bass and unusual, sliding guitar-like flourishes lend the arrangement a dreamy quality reminiscent of Mazzy Star, with touches of Pixies’ alternative rock textures. Larsen’s sweet, vulnerable vocals have a slightly conversational intimacy, allowing the song’s uncertainty to come through without unnecessary drama. The latter half becomes particularly atmospheric, opening into a largely instrumental passage punctuated by distant, echoing wordless vocals.

There’s something quietly affecting about the way ‘Copenhagen’ captures the ordinary experience of wondering what might have been. Rather than offering easy answers, Hellebaby allows those thoughts to drift through an understated, beautifully atmospheric piece of indie pop.

The post Hellebaby gets lost in the what-ifs on ‘Copenhagen’ appeared first on She Makes Music.

Musically, ‘Do You Believe Me Now?’ transforms that frustration into an upbeat, defiant indie-pop anthem. Jangly, 90s-inspired pop-rock guitars, lively percussion and touches of tambourine create an infectious, danceable rhythm. The sisters’ bright vocals and close harmonies bring an additional sense of solidarity, while the cathartic, singalong chorus turns the song’s central question into a powerful demand to be heard.

The accompanying video embraces a stylish, colourful retro aesthetic, with vintage telephones and playful nods to 90s and early 2000s culture. Its confident presentation complements the song’s message without diminishing its seriousness. Both catchy and confrontational, ‘Do You Believe Me Now?’ is a reminder that believing women matters most when something can still be done.

The post MACEDO demand accountability on ‘Do You Believe Me Now?’ appeared first on She Makes Music.

Musically, ‘Greyhound’ is a spirited slice of guitar-driven indie pop/rock, reminiscent of early KT Tunstall. Galloping acoustic guitars establish an infectious momentum, soon joined by energetic, driving drums and a supportive bassline. Katie’s bright, urgent vocals carry a mixture of vulnerability and frustration, creating an interesting contrast with the song’s lively instrumentation. Midway through, the arrangement slows dramatically, leaving just her voice and piano before the guitars return and percussion gradually builds everything back to full throttle.

There’s something wonderfully fitting about the restless, galloping rhythm of a song named after one of the fastest dog breeds. Beneath its energetic exterior, however, ‘Greyhound’ captures the loneliness of loving someone who makes you feel forgotten. It’s a catchy, emotionally honest combination of movement and melancholy.

The post Queen Anne capture the loneliness of love on ‘Greyhound’ appeared first on She Makes Music.

Musically, ‘Anything You Want’ is bright and breezy without being overly energetic. Synths and drums form the backbone of its relatively simple arrangement, while quirky electronic flourishes introduce a subtle psychedelic edge. Jasmyn’s melodic vocal carries an unmistakable warmth, although there’s a hint of hesitation beneath the optimism, reflecting the song’s push and pull between excitement and self-doubt.

That inner dialogue emerges through repeated encouragements to take chances despite feeling scared or getting stuck inside your own head. The accompanying homemade lyric video matches the song’s playful spirit, combining colourful scrapbook-style graphics, cut-out imagery and animated typography. Rather than pretending uncertainty has disappeared, ‘Anything You Want’ celebrates finding the courage to move forward anyway, making for a quietly uplifting return.

The post Jasmyn finds freedom on ‘Anything You Want’ appeared first on She Makes Music.

Its charm lies in its simplicity. Acoustic guitar and drums provide a light, breezy rhythm, while flashes of lead guitar and a gentle touch of piano add colour without overcrowding the arrangement. Konigsberg’s sweet, conversational vocal carries an effortlessly catchy indie-pop melody, with harmonies from Katie Von Schleicher and Greta Keating adding warmth. The chorus is the real earworm, capturing the conflict between lingering affection and knowing it’s time to move on.

The accompanying video leans wholeheartedly into the song’s summery charm, following Konigsberg driving, lying in the grass and spending time beside a lake with an appropriately homemade feel. Warm and deceptively simple, ‘Free Byrd’ turns letting go into something tender rather than triumphant — finding freedom without pretending it doesn’t hurt.

The post Lily Konigsberg finds freedom in starting again on ‘Free Byrd’ appeared first on She Makes Music.

Strummed acoustic guitar introduces the track alongside Miller’s wistful, slightly dreamy vocal, with accordion quietly colouring the background. From there, ‘teeth filed down’ gradually expands: bright electric guitar provides flashes of sonic glitter, while piano and light percussion slowly enter around its driving rhythm. The chorus opens up further through layered vocals, lending Miller’s indie-pop a subtle celestial glow without losing its intimacy.

That gradual build beautifully complements the song’s blossoming affection, as though those feelings are intensifying almost unnoticed. The accompanying video mirrors that progression, beginning with softly framed, near-still bedroom scenes and close-ups before introducing more movement as Miller begins to dance a little. Its dreamy pinks, reds and blues give the whole thing the feel of a romantic coming-of-age film. Warm, nostalgic and quietly lovestruck, ‘teeth filed down’ captures the way affection can creep up on you piece by piece.

The post Nathalie Miller finds beauty in what came before on ‘teeth filed down’ appeared first on She Makes Music.

Bright acoustic strumming opens the track before light drums and guitar gradually fill out its breezy indie-pop sound. Yet Turner’s vocal introduces anxiety beneath the sunshine, particularly as the endlessly repeated “Who am I?” turns a catchy chorus into a genuine existential question. That overthinking spills over completely during the bridge, abandoning rhyme for a breathless stream of consciousness as her thoughts tumble out seemingly unchecked.

The retro-styled video brings that identity crisis to life inside a colourful 70s-meets-early-00s room, where Turner plays with dolls, changes outfits and performs alongside an animated version of herself, becoming increasingly frustrated as she cycles through different personas. It’s playful and deliberately nostalgic, but underneath the bright colours and infectious melody sits a much messier question. ‘Who Am I?’ doesn’t pretend to find the answer — and is more interesting for leaving it unresolved.

The post Catie Turner searches for herself on ‘Who Am I?’ appeared first on She Makes Music.

‘Replica Gun’ sits somewhere between French pop and indietronica. Bright, brass-like synths give the track its playful pop sheen, while Larsen’s free-flowing verses mirror the feeling of thoughts tumbling out faster than they can be processed. There’s even a wonderfully strange moment where everything briefly seems to slip into slow motion before snapping back into place.

Rather than becoming outright danceable, ‘Replica Gun’ settles into an infectious little bop, with an earworm of a chorus placing some of its darkest imagery inside its brightest melodies. That contrast makes Hellebaby’s introduction particularly compelling: serious without becoming solemn, catchy without disguising the discomfort underneath.

The post Hellebaby wraps therapy revelations in bright pop on ‘Replica Gun’ appeared first on She Makes Music.

Beginning with a simple acoustic guitar riff, ‘Losing Streak’ gradually fills its surroundings with percussion, electric guitar, bass and layered vocal harmonies, blossoming into bright, bouncy indie-pop. Loveland’s crisp, wistful vocal carries just enough playfulness to keep things light, while a seriously catchy chorus and some lovely chord changes add to the song’s easy charm. There’s even a little ’90s alt-rock spirit running through it, recalling Letters To Cleo at their breeziest.

Filmed around Hoboken, New Jersey, the DIY video perfectly captures that same sense of freedom. Loveland wanders through sun-soaked streets carrying flowers, dances through tunnels and sneaks onto a local football field, with grainy VHS-style footage adding to its nostalgic charm. Made with her twin sister while she was on maternity leave, it feels spontaneous, scrappy and wonderfully carefree — two sisters briefly throwing responsibility aside and having fun with whatever the day brings.

The post Best Ex finds a little gold in the mess on ‘Losing Streak’ appeared first on She Makes Music.

Guitar-led indie pop forms the heart of ‘Mini Moon’, coloured by retro-pop touches, occasional handclaps and candy-sweet backing harmonies. Mårtensson’s Swedish-accented deadpan gives it an endearingly left-field character, tossing out its sharpest lines with barely a raised eyebrow. As the track progresses, the arrangement becomes increasingly playful, with sweeter harmonies and handclaps joined by a welcome burst of saxophone. B-side ‘Leave It’ takes a stranger route, pairing prominent, charmingly wonky piano with scattered chaotic percussion and abrupt tempo changes. Mårtensson retains her deadpan delivery but allows more emotion to creep through, while the track’s art-pop and post-punk edges bring to mind the playful experimentation of Kleenex/Liliput.

‘Mini Moon’ also comes accompanied by a suitably whimsical DIY video, following Mårtensson through Berlin’s Rehberge park armed with sunflowers and a gloriously homemade papier-mâché moon. Different enough to show two sides of Matching Outfits but oddball enough to unmistakably belong together, both tracks find plenty of charm in things being just a little bit wonky.

The post Matching Outfits get caught in orbit on charming ‘Mini Moon’ appeared first on She Makes Music.