A subtly funky beat gives ‘Late Nights’ its easy neo-soul groove, while jazzy brass flourishes bring touches of classic soul into its distinctly modern sound. But it’s NNAVY’s beautifully smooth vocal that really draws you in, becoming increasingly sensual as the song unfolds. Warm, intimate and effortlessly fluid, this is music firmly made for dim lights and the small hours.

That intimacy carries beautifully into the accompanying video, which finds NNAVY alone at home after dark, dancing, moving through softly lit rooms and simply feeling herself. At times we’re even watching from outside the window, giving these moments an almost private quality. Rather than fighting against the song’s themes of visibility and desire, the simplicity feels significant – NNAVY takes centre stage entirely on her own terms.

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A subtly funky bassline and loose, unhurried beat provide an irresistible sway, while the stripped-back arrangement leaves plenty of room for Dani’s silky vocal to glide effortlessly across the top. Dreamy and almost weightless without losing its groove, ‘reasons’ carries the warmth of 90s neo-soul alongside touches of breezy 70s and 80s soft rock. Dani describes it as a new-age “cookout classic”, and it’s remarkably easy to picture exactly that.

The accompanying video completes the mood with Dani riding along winding coastal roads in the back of a vintage car, guitar in hand and everything bathed in golden-hour sunlight. There’s no need for anything more elaborate; like the song itself, its charm lies in atmosphere and ease. Pure late-summer chill.

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Built around a laid-back groove and polished production, ‘GOOD IN ME’ channels the warmth of early-2000s neo-soul while incorporating subtle pop flourishes. Isabelle’s commanding, soulful vocal performance sits at the heart of the track, gliding effortlessly across the song’s relaxed instrumentation. The result is a song that feels both intimate and expansive, capturing the kind of connection that makes you feel completely at ease.

The accompanying video perfectly mirrors the track’s atmosphere, celebrating friendship, community and the simple joy of being together. Whether cruising through the streets with the top down or sharing moments with loved ones, ‘GOOD IN ME’ exudes an infectious sense of belonging. The song’s final moments, which blossom into a full gospel-inspired breakdown, provide a fittingly uplifting conclusion to a track that feels like pure sunshine. As the first taste of forthcoming EP CMD, a project set to explore self-love, vulnerability and healing, ‘GOOD IN ME’ suggests Isabelle Mettle is only just getting started.

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Since she was 8, Cherise has been quietly observing the world and documenting the little things. ‘Flatline’ began as one such journal entry after a breakup, capturing fleeting intimacies through timeless 90s sonorities : candlelit dinners, quiet kitchen dances, long walks to the corner store. Over time, its pulse has grown to hold more than romance: a lifeline for all relationships, platonic and the self-kind included, like a reminder to cherish the quiet moments that stitch our lives together. “I now realize that I can apply it to many relationships I find myself in,” Cherise explains. “As I’m currently healing through grief in many ways, it’s been extremely important for me to be in fellowship and community with those around me. ‘Flatline’ is ultimately about pausing long enough to notice, and not take for granted, those quieter moments between ourselves and our environments.”

Cherise’s polaroid lyrics find a perfect match in featured rapper Jian J’s verse, which effortlessly navigates through multiple frequencies. Co-produced with Charles Nutrivore, this musical psalm breathes through organic instrumentation, warming brass, playful vocals, and a jazzy swing-feel that mirrors life’s ebbs and flows.

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Recalling the elegance and sophistication of D’Angelo and Roberta Flack, ‘I Hope You Understand’ is a cinematic spin on neo-soul with string orchestrations that yield a pronounced sense of grandeur and sophistication. The track was produced by Berchie’s long-time collaborator Hilts.

A testament of self-actualization, ‘I Hope You Understand’ narrates the journey of someone conditioned to habitually prioritize the feelings of others, finally discovering the strength to abandon that thinking and start advocating for themselves and their needs.

Speaking on the track’s origins, Lizzie said: “I wrote this song to tell a story about finding the courage to leave a situation that is no longer for me, through the lens of someone who is always concerned about other people’s feelings first, but this time deciding to choose themselves. In this case, it was me leaving my job in the hopes of pursuing music. Others may draw parallels to breaking away from relationships, friendships etc, and this interpretation is welcomed.”

Defiant yet tender, the strong emotional resonance carried in the song’s profound but affecting lyrics is an extension of what is fast becoming a signature for Lizzie; creating a community through her songs in which her fans commune and offer exchanges pertaining to the trials, struggles and real-life experiences facing young adults in Britain.

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Kyrah Tay has spent over 15 years perfecting her craft, starting as a young musician drawn to RnB, soul, and urban music. Her years of dedication are evident in the emotionally charged lyrics and soulful melodies that define her sound. The new single is a reflection of this bringing a rich, funk and soul influenced backdrop of warming bass, bright guitar and swelling synth over a swing heavy electronic beat. Topped with Kryahs silky, soulful and effortlessly captivating lead vocal, the track demonstrates not only a feel for evocative and vibing songwriting and vocal abilities, but also her melancholic, intimate and accessible lyricism.

Speaking about the single Kyrah explains: “I wrote this song last year after playing the piano line, which is how I write most of my stuff. ‘City Girl’ is a story of one of the toughest years for me to date. I’d just left my job, lost my grandmother, and was going through relationship struggles. This song is an expression of feeling lost but also empowered to chase after what you desire.”

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‘First Sunday’ is a heart-fluttering number that ebbs and flows with a funky groove and a bittersweet bite. The neo-soul instrumentals are free flowing and feel ever-evolving while the emotive vocals and harmonies are angelic.

This song is about moving through grief and mourning the loss of family. The lyrics speak on the complex feelings that weigh heavy on the heart, even years later. Gracie Mack speaks about the track: “‘First Sunday’ is a song of release and catharsis from the complex world of grief. The song begins with pensive vocals over lush piano chords and slick guitar rhythms. The bridge then provides release with sparkling Rhodes and cosmic, belting vocals reaching a moving crescendo. The song ends by turning inwardly reflective. Contemplating the effect of grief on the soul.”

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Quickly enveloping listeners in resonant instrumentation and harmonies, ‘ISFTBS’ swings open with an unapologetic topline that proves Merritt’s songwriting is sharper than ever. Fed up with the state of the world and shaking off someone who just couldn’t get it right, an upbeat melody masks prickly truths as Merritt delivers some of her most unfiltered, raw lyrics yet, and they struck like lightning as she was writing.

“I wrote this song in the summer of 2023 as a writing exercise where you take a few words and try to craft a narrative around them. I had already recorded the intro soundbite years earlier – just as a little melody that popped into my head with most likely a situation at the time that prompted the lyrics,” shares Kristen Merritt. “With this soundbite, the writing exercise, and a new desire to experiment with sound after taking a music course led by Kimbra, ‘ISFTBS’ spilled out of me in a way like no other song had. While I consider myself vulnerable in songs in the way of love, I have never in life or music written something that was so decidedly blunt and angry. Especially not with the chosen words of the intro. It’s part anger, part exasperation, all honesty.”

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Bringing their iconic sultry charm, the three frontwomen use their bewitching skills to ensnare music to their will. Together, they brew up truly irresistible melodies, as they are backed up by tantalizing rhythms and tones from the band.

Forging something raw and seductive, ‘Melt’ is a brazen and impassioned love song, that typifies that fluttering heartbeat, those butterflies in the stomach, and the thirst for someone’s powerful intimacy. Set against the alluring backdrop of a neo-soul groove, the romantic lyrics combine with funky wah guitar, soaring synths and slinky rhythms.

This song reflects the blooming warmth of an early romance, hinting at the uncertainty of what’s to come, while still remaining passionate, sweet and optimistic. Gracie Mack says: “’Melt’ is about that kind of love that turns your insides to liquid gold. I wrote the song in the early stages of a romance that felt really healing and special. ‘Melt’ kinda feels to me like a mushy love song parading as a neo-soul groover. It’s enchanting, joyous and a bit sexy”.

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Floating in a limitless expanse, Rosa Mack’s latest offering in ‘Love You Always’ is smooth, rich and romantic as it effortlessly melds soul, pop and a touch of laid-back space disco. This anti-gravity soul-pop number is textured with layers of decadent palm-muted guitar arpeggios, echoing keys that sparkle like stars and a deep cosmic groove that keeps everything structured. Mack’s tranquil vocals melt over the top with her intoxicating range and honeyed tone, making for a thick, intoxicating atmosphere. The track gets dappled with slow attacking horns, a whirling overdriven guitar solo, and then drifts gracefully out into space to close.

Written and then brought to Rosa Mack by the band’s guitarist James Pryce Davies, ‘Love You Always’ encapsulates the experience of navigating through fear, where impulsive urges to flee have led to a state of being irreversibly lost. With the fleeting nature of life and the vulnerability that comes with it, when one is faced with their own mortality, there is an instant feeling of regret of not having done or said something. Davies states:

“The song explores the thoughts of someone facing their remaining moments, wishing for the safety home and to see whom they love once more. As someone whose mind is prone to wander, I find the idea of escape very seductive. Not once, but two times this desire has led me to nearly become completely lost while hiking through the forest. Thankfully, I found my way back on the trail but the feeling of panic has stuck with me.”

When asked about taking on Davies’s song, Rosa Mack states, “It’s a vulnerable practice to gift your musical ideas to your bandmates. However exposing that may feel – I’ve found the process of granting one’s artistic expression to another is a powerful tool in understanding and relating to someone’s insight and perspective. It’s an honour to translate James’ work with my voice and offer my own authentic interpretation to audiences. I feel these words as much as I would my own, and I think that dynamic of trust can create something profoundly honest and soulful to share.”

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