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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It is Hope’s voice that immediately draws you in. Effortless, vulnerable and deeply soulful, her vocal sits beautifully alongside soft piano and soaring strings, creating a warmth that feels almost cinematic without ever becoming overly grand. There is something incredibly comforting about the arrangement, even as the lyrics explore the pain of being let down by someone you still love. Rather than wallowing in the heartbreak, ‘If You Ever Loved Me’ feels like the soundtrack to a quiet afternoon, sunlight streaming through the window as you sit alone with your thoughts. It is gentle, intimate and effortlessly beautiful.

Hope describes the track as being “about denial as much as it is a breakup song, about the pain of being let down, despite the love you might still feel.” That emotional honesty is what gives ‘If You Ever Loved Me’ its quiet power. There is no need for huge production or vocal theatrics when the feeling is already there in every note; Hope simply lets the song breathe, resulting in a soulful and deeply human listen.

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From the opening moments, ‘weary soul’ radiates warmth. Built around smooth, laid-back instrumentation and rich analogue textures, the track evokes the effortless cool of classic soul records, recalling the lush, cinematic atmosphere of artists such as Minnie Riperton. Everything about the song feels tactile and lived-in; the kind of record that sounds as though it was always destined to be played through vintage speakers with sunlight filtering through the curtains.

At the centre of it all is Dani’s captivating vocal performance. Soulful yet fragile, she delivers lines such as “I’m sick with wanting, someone to hold me, someone to carry my weary soul” with a quiet vulnerability that never slips into self-pity. Instead, there is a gentle sadness running throughout the track, a yearning for connection that feels universal in its honesty.

As ‘weary soul’ unfolds, it gradually drifts into more ethereal territory, closing with lush harmonies that seem to dissolve into the atmosphere around them. The effect is dreamlike and cosmic, leaving behind a lingering question that feels as expansive as the sound itself: “Did you ever know me?”

Warm, soulful and quietly devastating, ‘weary soul’ is the kind of song that demands to be lived with rather than simply listened to; a late-afternoon soundtrack for moments of reflection, longing and everything that exists in between.

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Built around a smooth groove and effortlessly soulful vocals, ‘heartbeat.‘ balances warmth with emotional tension. While Cherise’s voice remains beautifully controlled throughout, moments of frustration occasionally break through the surface, hinting at the anger beneath the song’s polished exterior. A welcome saxophone adds further richness to the arrangement, while the track’s closing moments showcase a series of stunning high notes that leave a lasting impression long after the song has faded out.

Speaking about the track, Cherise explains: “In such relationships, there’s usually a thin line between love and hate that keeps the emotional cycle going between two people. I wanted to highlight that it’s not often one-sided.”

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A visceral journey toward self-liberation, ‘Amputate the Fake’ arrives as a soul-infused anthem for shedding illusion and reclaiming truth. It is a call for everyone to strip away the external masks that confine us and reevaluate our relationship between authenticity and artifice.

“I wrote this song to describe the feeling of putting down our external masks, freeing our most authentic selves, and letting go of what didn’t serve us,” Shilpa says. “I wanted to speak about not letting go of my dreams and not forgetting my own name – even when faced with intense pushback and adversity. I no longer wish to be put into a box or labelled in a way that makes others feel comfortable about who I am or what kind of music I make. This song marks the moment where I am letting go of the need to find a sense of belonging, especially if it means I need to conform to a mind view I don’t believe in.”

Sonically, ‘Amputate the Fake’ is smooth, warm, and full of movement, led by deep bass grooves, layered vocal harmonies, and Tona’s soulful flugelhorn riffs. With a hip-hop undercurrent and deep R&B soul flavour, the track offers modern Tamil-soul, inspired by the likes of Victoria Monét, Kimbra, and Hiatus Kaiyote, to Erykah Badu, Priya Ragu, and A.R. Rahman.

The accompanying AI-driven music video, directed by Suruchi Sharma (Studio Ainak), blurs the line between what’s real and what’s performed, mirroring our modern struggle with authenticity in a world obsessed with appearances. Shilpa adds: “’Amputate the Fake’ is an act of release – a call to amputate the fake and awaken the real.”

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With its catchy consistent bassline inspired by The Temptations, shuffling live drum patterns and retro-inspired sound, ‘Shade Of Red’ offers listeners a touch of Motown with a modern twist. Taken from her upcoming debut EP, the track showcases Olivia’s raw songwriting ability, outlining the desire and guilt that comes with pursuing a love that is forbidden. With its instantly memorable instrumentation and Olivia’s sultry ‘jazzy vibe’, ‘Shade Of Red’ is set to establish Olivia Frances Brown as a rising star with her own unique style.

“I wanted to capture that feeling of being utterly consumed by something you know you shouldn’t want, yet can’t escape,” says Olivia. “There’s a raw, almost frantic energy in it—the way desire twists into something darker, something that haunts you.”

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Welsh soul artist Nia Wyn has a talent for raw and powerful storytelling. Growing up in a small town in North Wales, Nia struggled with mental illness, isolation and confusion around her identity, taking solace in old records she found and playing guitar in her room. Inspired by the soul that came out of Philadelphia, Memphis and Detroit in the 60s and 70s, Nia writes, produces and sings songs about modern issues: being queer, hard times young people face in the UK, mental health and neurodivergence.

A Pleasure To Have In Class showcases Nia’s strong influences of mid-century soul but with a modern twist. Wyn’s vivid storytelling and reflective lyricism is partnere with heavy Motown and Stax inspired arrangements, her unmistakable and distinctly powerful vocals. Across her debut, Nia Wyn has self-produced numerous tracks, with production also coming from regular collaborators Blake Rhein (Durand Jones and the Indications), Duncan Pym, edbl and Evil Genius. The album is a heartfelt and raw confession of Nia Wyn’s increased understanding of her own struggles and growth, and a deeper look into why she (and you) might have been a Pleasure To Have In Class back in the day.

We had the absolute pleasure of chatting with Nia all about A Pleasure To Have In Class, her upcoming shows, experiences in the music industry and much more. Read the interview below.

Hi Nia! How are you? What does a typical day look like for you at the moment?

“Very well thank you. Typical day right now if I’m not in my day job is to get up, feed two persistent cats, have some downtime (video gaming, particularly Fallout 4) before getting to my desk and working on new music. I’ve got a home set up so I’m able to work whenever I need to. I also love doing laundry, it’s very relaxing.”

We have been following your musical career since the very beginning and you’re now releasing your debut album A Pleasure To Have In Class. Why was now the right time to share a full length project and what does it mean to you?

“Thank you for all the support you’ve given me! I had intended to release a debut album for a pretty long time, and once I dispelled ideas of having to have an indie or major label on board to release an LP, I thought, I need to just go for it. Republic of Music have been a joy to work with, and I was lucky to get some funding from Help Musicians UK to record the album. It means a whole lot to release a full length project, especially one I’ve produced half the tracks myself. It’s the project I am most proud of, and I feel is the most accurate showing of me as a music artist, lyrically and sonically.”

We adore your retro soul sound. What/who did you draw inspiration from sonically for this particular record? Who were you listening to around the time of writing it?

“Thank you. I was listening to a lot of mid century soul of course – lots of Philadelphia soul groups, Numero Records playlists. Always listening to a lot of soul revival artists as there is plenty out there now especially in the US and UK. I’m also a big fan of country music, blues, jazz – so I’m hoping that all comes through too (I’d like to think so).”

A Pleasure To Have In Class covers a wide range of themes. What do you hope listeners take away from the record?

“I hope everyone finds something they can take from it. My autism diagnosis and the self-reflection I did really kicked off the album writing process, so I wanted to express my perspective on being late diagnosed as neurodivergent after a lifetime of masking, and how both liberating and painful that can be. Halfway through the album I celebrated my 10 year anniversary being sober from alcohol – a major milestone, but one that felt quite weird. Sometimes recovering from dependence/addiction can be like losing an actual person in your life. You are proud of yourself for getting so far away from that time in your life, but it can always still feel quite precarious – not wanting to lose all the progress you’ve made as it could be gone in a split second, and not wanting to admit you sometimes miss it despite how destructive it was.

“As a proudly queer woman I am very passionate about issues that affect all of our community. The worsening environment of anti-trans hatred and discrimination deeply concerns me as part of that community, and I wanted to raise awareness of the real life consequences of this. There’s also themes of mental illness (notably Obsessive Compulsive Disorder) in there, and a whole lot of love too.”

What was your creative process for A Pleasure To Have In Class like? What was your favourite part making the album? Did you face any challenges or do anything differently this time around?

“This time around I worked a lot on my own rather than working with producers for each song – it was really enjoyable to finally be confident in my own skin as a producer, and really showcase my own style of production. That was probably my favourite aspect. I loved working with various session musicians to bring the record to life – expect lots of rich instrumentation, brass, strings! Having The Harlem Gospel Travelers on ‘It’s My Business’ felt special, as I was already a fan of their music. My collaboration with Duncan Pym who mixed and mastered the record (and produced and co-wrote ‘Your Team’ and ‘Loves Me Not’) was pretty crucial too. We worked out of his home studio for some songs, as well as at Hackney Road Studios. Duncan is great to work with, he got my vision for the project perfectly.

“I also was thrilled to work with Autumn Barney on the artwork and visual design of the album – I’ve been a fan of her work on Colemine Records album artwork for ages, and she’s a lovely individual.”

You will be kicking off a UK and EU tour in support of the album later this year. Will there be any changes to your live show? What can fans expect?

“Yes! Very excited. I’m looking to move towards a much more organic sound, trying to play as close to how artists and groups would perform in the 60s and 70s. It’ll be full band shows for the UK dates, and solo performances for the EU.”

Which of the new songs are you most excited to debut live and why?

“Oh gosh, I couldn’t pick one. Just the experience of being able to bring this LP to life on stage will be thrilling for me, as performing live is very important to me as an artist. I’ve teased some of these songs when I was supporting Say She She last year – it’ll be cool to perform ‘It’s My Business’ and ‘Happy Anniversary’ as those haven’t been played live yet really.”

You’ve worked with many different artists across your musical career. Is there anyone else you would love to collaborate with in the future and why?

“There are so many honestly, but one is Leon Bridges. I think our voices are so different and we are influenced by quite similar music, so I think we could make something real nice.

“I’d imagine Kacey Musgraves is a dream to work with too – excellent songwriter and artist.”

Based on your musical journey so far, what have been the biggest challenges that you’ve faced and how have you overcome them?

“Rejection. There’s been a lot of rejection and disappointment and you really have to grow resilient from that otherwise it destroys you. I think when you are so passionate and so laser focused on your music as an artist, it can sometimes be hard to separate this from your sense of self, so every rejection knocks away at your self-worth and that can be very damaging. I think going it on my own in the last 2 years, no manager, has been a challenge that I’m really glad I took on, as it’s been fruitful – I’ve been able to take more control (which admittedly, I like doing) and it’s been way more on my own terms.”

Finally, do you have a favourite highlight from your career so far? And what are your goals for the future?

“After releasing this album it’s probably opening for Paul Weller on his tour a couple years back, and performing at Glastonbury. I’m excited to see what this album will bring – my first UK/EU tour will be a big moment in my career, further projects (and producing myself) as I’m always writing. I ultimately just want to be able to do what I love, be able to sustain myself and my family, and keep growing as an artist.”

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On the single, Cécile says, “‘Communion’ is a celebration of community, especially among musicians united in the pursuit of mastery. It pays tribute to the legends who paved the way and to those we admire for their artistry. The song embodies the transformative power of music—those moments of transcendence when we connect deeply, not only with each other but also with our audience. It’s about being fully present, together, and elevating our shared experience to a higher ground.”

The dynamic and nostalgic music video for ‘Communion’ immediately transports viewers to The Georgia Cécile Show, a homage to the 60s and 70s prime time broadcasting, with technicolour, charm and sparkles galore. The energy emanating on screen embodies the theme of community and the transformative power of music.

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Nia Wyn says she wrote the lyrics in a session with edbl not long after the murder of Brianna Ghey. “As a gay woman, I have always felt a connection and strong solidarity with trans and non-binary people and I worry about the increasing discrimination and hate crime towards our communities. After the murder of Brianna and reading about the vitriol on social media pushed by J.K Rowling and conservative movements, I felt I really needed to write about this. I’ve been a fan of HGT for some time and was thrilled when they were up for collaborating on this, not just because I think they are incredible musicians but also I value their lived experiences and bravery. We’ve ended up performing together and become friends now, which is beautiful.”

On the track, Ifedayo of The Harlem Gospel Travelers said: “To be able to not only sing but lend my own perspective on ‘It’s My Business’ was an honour. This is the first time we have had the opportunity to work with another openly queer artist, coming together from two different countries. To tell the powerful and important story. We as artists have a responsibility to use our gifts and platform to speak to speak to the world. We cannot, and should not ignore the trans lives that have been lost. Who we love is OUR business. When lives are lost, it’s ALL of our business!”

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‘Messages’ is a declaration of self worth in which Dido Wilson rejects sub-standard attempts to gain her affections, instead seeking to establish more meaningful connections. The song radiates a sense of whimsical self discovery through its effervescent instrumentation, combined with Dido’s soothing vocal tone. There is a sense of playfulness rather than spite in Dido’s words when she dismisses her would-be love interest’s uninspired communications, singing ‘You’re always asking how I am, always sending stupid texts, I don’t ever read your messages, why would I waste my breath?’

Speaking on the inspiration behind the track, Dido had this to say, “I wrote ‘Messages’ after a hinge date that flopped. I was single and getting my confidence back after being in a long relationship. It was the first time I realised I could have fun whilst also figuring out my wants and needs. I learnt what standards I wanted to hold myself to, as well as the people I date. So I’m no longer accepting boring, stupid messages that take up my time.”

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