Latest Reviews

Tori Amos returns with her 18th studio album In Times of Dragons, released via Universal/Fontana, and it is one of her most conceptually dense and politically charged works in years. Built as a protest record wrapped in allegory, mythology, and modern fairy tale imagery, the album explores themes of political instability, democratic collapse, environmental anxiety, and personal transformation through a fictional narrative of a woman escaping a dangerous billionaire and gradually becoming the very “dragon” she must confront.

There is a sense of timing to Natalie Imbruglia’s return. As pop leans back toward the dancefloor, her new single Upside Down arrives as a bright, defiant step into that space, previewing the album Algorithm, due 4 September.

Tiffany Stringer, the Texas-born rising pop star, has officially launched The Lone Starlet EP, a new project that merges the grit of Lone Star roots with the glamour of old Hollywood. Set for release on Friday, May 8 via Atlantic Records, The Lone Starlet marks a bold new chapter in Stringer’s musical journey and sets the stage for a cinematic pop era that will have listeners feeling the bright lights and big-screen emotions.

Irish singer-songwriter Janet Devlin steps back into the spotlight with “Working For The Man,” a long-awaited release that feels less like a comeback single and more like a statement of intent. Written when she was just 17 and carried with her for over a decade, the track arrives with the weight of lived experience behind it, and that sense of history gives the song a rare kind of authenticity.

Demi Lovato has released a new song called Low Rise Jeans. The first thing that strikes me in this song is the background melody, probably being played on a xylophone or some sort of cowbell synth patch. All the sounds go really well with Demi’s vocals, so big kudos to the producer of this track, Zhone.

Kacey Musgraves, the renowned country artist, has released a new song called Middle of Nowhere. I am personally a big fan of another artist’s country-leaning phase, namely John Mayer. He released an album called Born and Raised, and this track sort of gives me a similar feeling to some of the songs from that era. I am a big fan of that sound, so this immediately caught my attention.

The All-American Rejects return with “King Kong” sounding like a band that hasn’t just come back to relive old success, but to reframe it. As the latest single from their upcoming album Sandbox, out May 15, 2026, the track blends the emotional immediacy they built their name on with a slightly more weathered perspective.

Pixie Lott steps into a more reflective space with Good Wife, and it feels like a genuine shift rather than a calculated reinvention. The track leans into a softer, more organic sound, opening with guitar chords that immediately sets a stripped back, intimate tone. It does not rush to impress. Instead, it settles into itself, letting the emotion do the work.

Jamie Grey returns with a quiet kind of confidence on his new single How Did We Get To Midnight, a piano-led ballad that leans into stillness rather than spectacle. It is the kind of song that does not rush to impress. Instead, it settles in, lets the room breathe, and gradually reveals its emotional weight.

There’s a certain kind of pop song that doesn’t just arrive, it announces itself within seconds. ‘Delusional’, the latest single from Mae Stephens, does exactly that. Built around a bright, almost mischievous piano hook and a crisp, attention-grabbing click running through its core, it feels engineered for instant replay value. Or, as one early YouTube commenter neatly put it: “This is gonna get so viral.”