Starry starry singles

20 Tuesday Oct 2026

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What is star power anyway? Somehow we know when we’re around it – there’s an extra dose of sparkle to the performance that makes instant replay pretty much inevitable. To aid your search, here’s 21 songs to fill your starry starry sky with something shiny and new.

Summer may be over but any season is a good time to check out the latest EP from Australia’s The Summertimes. The jangle shimmer radiating from their summertime pre-release single “Save You Now” is buoyant and fresh, giving off a Rank and File meets the Beatles vibe. EP title track “Luminous” is pretty sweet too. Minnesota’s Sunken Planes return with a dynamic new single “In Due Time” that combines jangle with a decidedly edgy emotional feel. Just a little bit dissonant and melancholy in a very good way. As Vegas With Randolph gather their wits for a full album release they’ve been drip releasing intriguing songs like “Maria Reverie.” The track is name-dropping tour-de force. I mean, it’s not easy to rhyme things with Matthew McConaughey. Exploding Flowers single “Spinning Carousel” practically screams out for a montage sequence to accompany it. The song is pleasant like a gently rippling forest stream with a marimba break that reminds me of Haircut 100. 2m8o have an endearing DIY indie style that comes out strong on “Popcorn Ceilings.” Some star bass playing here too.

The Happy Somethings “Just Being With You” is definitely ‘a healthy dose of hope’ (the latter being the title of their latest album) with an undeniable winsome charm. This is a band that made C86 a way of life without surrendering their smile. Bill DeMain’s Swan Dive project offers up something very special, a new song featuring the late great Jill Sobule. “Jenny” is cool and stately in a ‘I’m doing a Frank Sinatra sort of thing’ way. So classic. The dt’s recent track “Bummer” goes in two seemingly disparate directions within one composition. The verses keep us idling, waiting for something to break. And that break comes with a swooping chorus that really delivers. Birmingham’s Lolas never fail to nail the hooks. Their new song “Colors of the Heart, Bleeding” careens out of the starting gate with a soaring melody and punchy chorus. What an intriguing combination Pillow Fight offer up on “Secret Crush.” Musically the opening is so jangliscious, quickly developing into a great girl group groove. Then the deadpan vocals twist the effect away from pure nostalgia to something more serene.

While Doug Hammond’s Vaughn Trapp guise may not have the tensile strength of his Daisy House project it remains a great vehicle for his abundant pop culture talents, showcased nicely on his latest song “Gringo Starr.” Composition-wise, the track is a wild synthesis of styles from completely different eras. And damn, the melody threading throughout the chorus is pure ambrosia. Liverpool’s Modern Marriage have a debut LP Grim Up North jammed full of Merseybeat references but delivered in a style that is anything but. “Dear John” gives you a taste of the band’s musical independence from their obvious cultural past, combining both shiny guitar riffs and a very punky demeanor. I’ve always had a soft spot for Louisville Kentucky’s rough-hewn Terry Malts. Their music always seemed to verge on just a bit too loud for me but always recovered with an unfailing knack for dialing in some serious melodic hooks. With “By Friday” the rocking grind is there, adorning a familiar song style so well. Don’t let the palm trees fool you on the cover of All Over the Shop’s new EP Some Like It Shop. On opening cut “Every Dog …” the sounds has a grimy grinding undercurrent while the vocal pulls in a different direction, creating a productive tension. In their spare time Richard Rossi and Joe Giddings decided to form a new project, Radio Karma, and put out some new tunes. “Mom’s Garage” is one and it is an exquisite composition, a dynamite slice of melodic rock with just the right balance of tasty hooks and screaming guitar solos. If only I could toss off singles this good so easily.

“Red Lights” is something a bit different from The Deathray Davies. Over the top and a bit constrained in different places. Definitely fun. The Fencesitters hail from St. John’s Newfoundland and Labrador, Canada and their “flight song” is delightful ball of confusion, simultaneously light and frothy while drilling down into solid guitar soloing (including some serious verbal flight boarding drama). The new single from Santa Monica’s The Popravinas has their usual candy-coated pop rocky coating. “You Got Ornery” is driven by a slick vocal and lead guitar riff that won’t quit. The Krayolas are a tex-mex institution, still going decade after decade putting out new stuff. This time it’s a cover of Atwood Allen’s tear-jerker track from  Doug Sahm’s 1973 solo album Doug Sahm and Band. And they acquit themselves country-beautiful on it. I love the light touch on Drew Beskin’s new single “Like Some Guilt Admission.” The acoustic guitar floats in, the vocal hovers somewhere above it all, while the tune really gets into your head.

Wrapping things up on this star power showcase is a real show stopper from The Speedways. Backing their new single “All Bets Are Off” is a b-side co-write with none other than power pop legend Paul Collins. “Angela Sincerely” is dynamite from the word go. Cool lead guitar line, hooks galore, and with some vocal support from the legend himself. A winner, for sure.

You can wish upon these stars but cool hard cash would probably not go amiss either. Click on the links above to extend your night sky view of these great new songs and acts.

Photo ‘Ritz Starlight Room’ courtesy Thomas Hawk Flikr collection.

Can love kill you? Let’s ask Softjaw

16 Friday Oct 2026

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Some albums are so good you just have to drop everything to write about them. Today’s release of Softjaw’s new LP Love Can’t Kill You fits that bill. Reviewers have hailed the band’s reinvention of a classic 1970s power pop sound associated with Big Star, The Nerves and Cheap Trick and I’d have to echo such sentiments while adding a few more. I hear a lot of 1960s DNA embedded throughout the album and a synthesis that is also truly unique.

Things start out with a clever bit of misdirection as opening cut “You May Be Right” works up a noisy boogie-rock assault that largely exists at the far reaches of glam. Then “You Won’t See Me Cry” pulls back the guitar crunch a bit, doling it out in more pleasing shots while laying in some serious Beatlesque vocal harmonies. However, it’s when we get to “Poor Disguise” that the band’s tremendous originality come to the fore. The song is a masterclass in melodic sophistication and songwriting arrangement. The super-enriched harmony vocals cut through a backing brimming with breakout hooks. Hit single? It should be. There’s a Phil Seymour “You’re Precious to Me” kind of intensity going on here. “Love Can’t Kill You” is the other standout hit single material track here. The distinctive elements of this song – the guitar tones, the harmony vocals, the melodic hooks – come together so effortlessly, a testament to great playing and superior songwriting. As noted above, while a lot of coverage of this band notes the 1970s flavour I’d push things back to the 1960s too. There are early Beatles guitar vibes undergirding “Halfwit,” more than a tint of The Hollies colouring “That’s Alright With Me,” and lilting Merseybeat feel to “My Broken Heart.” Of course, “Million Different People” practically screams acoustic Big Star, right down to the big empty room atmosphere while “Pandemonium” has just a touch of Wings woven into it (Wings in a rocking mood, that is). I also love the genius arrangement of musical and vocal elements defining “Go Mad” and the low key jangle heaven that is “Flying High.”

Albums this good are dangerous. They raise our expectations of what can be produced in our post-genre era where everyone claims everything has already been done. Love Can’t Kill You demonstrates there’s still a lot of gas in the power pop tank. Get your copy without delay.

Luxury Fruit want to be monetized

10 Saturday Oct 2026

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Come on people, here’s a humble band with more witheringly smart commentary than your local late-night talk-show comic and they’re just looking for a way to turn that jangle-infused verbiage into a buck. That’s right, alternative universe superstars Luxury Fruit have another 4-tune EP that is so good they didn’t even bother to give it a title. [untitled] is a deliberately opaque album name because this is a band that believes in you, in your ability to listen and really hear what is going on. Opening cut “Entitled” is a brilliant dissection of privilege delivered with an island sway. Get Mike from White Lotus on the phone because this is his next theme tune. By contrast, “Untitled” is a stark rock rumination on the great levellers, time and death and indifference. Dig this meditative wall of sound. “Lying in Bed” is a talk-sing bit of whimsy delivered with a laconic precision. Rounding things out, “I’m All I Need” is the logical end game for America’s self-help obsession. Advice or warning? You decide. And then this EP is over. You won’t get a more refreshing 16 minutes unless you pop in a cold shower.

You probably didn’t think you could afford Luxury Fruit. But you can. And in multiple ways. Everything will become clearer over at the Luxury Fruit Bandcamp stand. Go there now.

Around the dial: True Green, Brian Jones and His Elevator Music, Smug Brothers, and Pope

04 Sunday Oct 2026

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Sometimes you’re spinning the radio dial (or whatever is your modern equivalent) and something new pops out that you just can’t turn away from. Today’s crowd of artists offer up just those sorts of oh-so-pleasant surprises. Get ready to get stuck in.

True Green’s Hail Disaster is a journey through many moods. Opening cut “Italian Lightening” is all shades of autumn light, so many flickering guitar and keyboard lines dapple your senses. Sunny and bright got right, that’s this song. It also stands out as the most hit singley track on the album. From there things veer down many intriguing paths. “How To Draw Hands” talk-sings against echoey guitar chords and mellifluous keyboard runs. “Beatlemania” is a stark indie rock intervention, nothing like Beatlemania sonically (though it does ask all the right questions about that social hoopla). Then “Consider the Priesthood” brings banjo into a track that pushes the echo fader to the max. Folk figures strongly across many contributions here. “Hamlet and Juliet” has a unique folk ennui, a bit like Hayden. “Bindi Sue” and “Falconry” both give off acoustic folk vibes, the latter adding some Bruce Cockburn guitar artistry. Meanwhile “Jonathan” combines a folk feel with some comforting 1970s electric keyboard. But cuts like “Hail Disaster” and “Terry’s Parrot” lean closer to performance art. The guitar textures defining “Bodysurfing”  are mesmerizing in a low key way. Moody poprock makes an appearance with “Texas Instrument” while “Sparrows + Lillies” is all jazzy rumination. Hail Disaster may be a shifting mood buffet but it works on many levels.

On Outlandish Stances Brian Jones and His Elevator Music offer up that highly literate melodic rock and roll that made careers for bands like Squeeze and Fountains of Wayne and I can’t get enough. Record opener “Flowers” has a new wave freshness from its opening guitar chords, building to a triumphant, memorable chorus. Then “New Adventures” shifts gears into a rollicking poprock romp. “Some Men” opens with some distinctive jangle guitar, layering it up to good effect on this story song. It’s so easy to toss off possible comparisons to the styles that appear here. “The Last to Know” is so Squeeze, “Mexico” exudes an FOW ballad feel, while “Blessed and Highly Favored” reminds me of Freedy Johnston. “Sunday Best” is a personal fave – I love the liberal deployment of seventh chords. “When The Music’s Over” is something different again, closing things out with tender piano ballad.

Smug Brothers album #11 Pinhole to Vortex is a supremely great guitar record. What I mean is that the guitars are central to everything that is going on here, carrying the songs forward, adding depth where needed, and jumping out of the mix with various melodic and textural surprises. “Bolt Through the Blackout” is a great example of what I’m talking about with alternating guitar parts that keep grabbing our attention. “I’ve Seen Them Patch the Same Hole Trying to Get It Right” is another striking example where the hypnotic rhythm guitar attack lulls you just ahead of dynamic lead guitar breakouts. “Blitz Meridian” is something a bit different with its clockwork-meets-new wave rhythm guitar pacing. And I’m particularly keen on “Picasso Waltzes.” The song is a wonderful arrangements of pieces, from the lead guitar lines to the chorused vocals to the striking trumpet shots. Or listen to how “Extra All the Time” uses great lead guitar runs to lead us through the song. There is a some solid Beatles DNA threaded through countless songs here, from “Eureka Minor” to “From Crack to Shatter” to “Back at Earth.” There is stylistic variety here too, with “Speeding By the Way Things Used to Look” and “Wake Up (Be Your Own Planet)” holding a softer pop pose while “Chisel Would Say” showcases a harsher guitar attack. Personal faves include “The Other Wedge was Better” with its up-front guitar hooks and the full-on power pop of “Drive Open in the Delicate Streams.” Fair warning: with Pinhole Vortex you better get ready to notch your amp up to 11.

It’s been a month of regularly imbibing Pope’s new LP BFM and I’m still not done with it. I find myself fascinated with how the band manages to inhabit so many styles but never lose a sense of their own musical personality. Reviewers don’t skimp on comparisons, linking the overall aura to the 1990s alternative scene. My own take is that the potential influences go even further back (and forward). For instance, both “Song Two” and “Point of View” conjure the Dandy Warhols for me. Some suggest “Newboi” is vibing Teenage Fanclub but all I hear is REM. Obviously there are many ways to dissect Pope’s musical DNA, the point is indicate possible stylistic affinities. Case in point, “Town” has a SWMRS feel for me while “Good Enough” embodies a spot-on Kevin Devine demeanor. Another striking aspect of this LP is the seamless fluidity of the song order, despite the deployment of different lead vocalists. Ratboys singer Julia Steiner guests on “Sick Minute” and “Nothing for Nothing” and her appearances are both highly distinctive and very much in tune with the album’s overall tone. Overall BFM is a hard-to-pin-down album. Tracks like “Back to Centre” and “Underdawg” exude a folksy charm without going full-on folk. “Make You Feel” has a harsher guitar attack that is set off somewhat by vocals that seem to float over the backing. Then you have a song like “John Thomas” where a lowkey delivery in no way subdues the impact. After nine years without a release, BFM definitely marks Pope’s triumphant return.

Tuning in to these four acts will definitely enrich your listening pleasure. You can find more dedicated programming about them on their branded internet real estate.

Photo courtesy Joe Haupt Flikr collection.

Northern Souls: Keyside and The Guest List

28 Monday Sep 2026

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England’s northwest is alive with fresh jangly enthusiasm courtesy two bands springing from the region’s established music hubs, Liverpool and Manchester. Both Keyside and The Guest List have utilized the now ubiquitous drip-single-strategy of releasing nearly all the songs from an upcoming debut LP over the course of a year or more before it actually arrives to create interest and build an audience. And it has worked a treat for both bands, getting them loads of press and onto the UK top albums charts.

Keyside’s self-titled release features 12 tunes, 9 of which initially saw light as singles and EP cuts. As the early releases were chosen with an ear to catching the attention-overwhelmed audiences of today, the songs are all catchy but can survive multiple playings. Collecting them all in one place has, not surprisingly, produced an LP brimming with should-be hits. I could single out “Nikita,” “Down My Way” and “Rock My Love” as particularly strong but any fan might choose a different combination. The deluxe version of the album even digs further back into the band’s catalogue, including a brighter, more professionally produced version of “Paris to Marseille,” a track originally released in 2023. The three new songs that appear here are not cutting room leftovers either. In fact, “Red Ruby Red” may vie for the top track here with a jaunty bounce reminiscent of fellow Scousers The La’s. Altogether Keyside is one supremely fine debut. Despite releasing the material over a two year period the record has a sonic and songwriting consistency that is impressive. Sure to be voted one of the top ‘repeat play’ LPs of the year.

When I first heard The Guest List doing “Something Real” I was struck by the song’s dynamic tension, how a sense of anticipation kept renewing and resolving effortlessly. Other singles offered widely different takes on how to play with this taut sort of song form. Some like “Ruine” and “Mundane” mix an intermittent rock grind with more measured vocals while others like “You Should Care” exude a more Killers-like intensity. “If Ever Your Devil is Kind” conjures a wonderfully ‘falling in a dream’ kind of panicked pleasure. “Weatherman” just sneaks up on you with its haunting hooks. Like Keyside’s debut, most of the songs here (7 of 12) preceded the recent official release of Something Real. The five new songs on the LP add even more diversity to the going ons. “Sick Animal” combines country touches with a lovely histrionic chorus, “Slow Down Sally” builds up from a low-key folk feel to a Beatlesque turn, while “Craven” has a slow, stately and yet ominous cadence. And then the record ends with “The Only Ones,” a dark but classy Costello-ish ballroom ballad. The depth of songwriting here suggests this is a band that has only just begun to explore what they can do. Watch this space!

If you’re looking to scout an exciting musical frontier, you’ll want to go north these days. Northern England is just rife with talent. And these two bands are just the advance patrol – I see more emerging talent on the horizon.

Photo: fragment of The Guest List single art for “161.”

Should be a hit single: Greg Freeman “Gulch”

22 Tuesday Sep 2026

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Late to the Greg Freeman parade but making up for lost time, I’m here to sing the praises of just one single song. Namely, what I think should be the standout single from his 2025 album Burnover: “Gulch.” Ever since his debut LP I Looked Out hit the shops in 2022 the critical appreciation of his work has been building, with comparisons stretching from Pavement to Big Star. But “Gulch” is something different. Now stick with me here while I head out on a shaky limb but the influence I hear is none other than Bruce Springstreen. Think of all that voluminous material from The River that was sprinkled with just a touch of new wave charm. The cadence of the way the lyrics gel with the wonderfully chordy tune just sounds so New Jersey troubadour. Freeman is really cramming the lyrics in with a Bruce-ian intensity. But the value added here is dynamic rhythm guitar attack that comes between verses and the jazzy lead guitar breakout during the song’s instrumental excursion.

Freeman is just about to deliver his new album All Set The Bone and that is going to a sonic event not for missing. Check him out on his throwback 1990s website and Bandcamp locales.

Dial M for midterms

16 Wednesday Sep 2026

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They’re coming. The anticipation is real. Will they represent a sea change in American politics or just another day of MAGA myopia? Odds are usually stacked against the governing party at the midterms but lately all bets are off on predictions about US political trade-winds. We’ll just have to wait and see. As the anticipation builds we can check in with a variety of powerpop pundits not afraid to share their views about all things political. Definitely more CNN than Fox but what can I do? I’m working with the available material here.

Seems appropriate to start with some seemingly patriotic material. I say seemingly because Sorry Monks‘ “We The People” portrays the people as not as ‘in charge’ as we might think and he’s not even American. As he says ‘We the people” gotta pay the price, four more years of pettiness and vice.’  Then Beatles 2 claim to offer a “Hail to the Chief” but their sincerity is questionable. I don’t know who Beatles 2 are but they get a nice inner city jam going here.

The midterms are ultimately about what the voters are going to do. The ChrisVandaly Project pose the essential question to Mr. and Ms. America, namely “How Will You Know” what is real from what is not? You gotta find somebody to trust. People like Jeff Shelton seem pretty trustable. His Well Wishers lay out what is at stake on “I Want My Country Back” with a plea to return to all that has been noble in the American experiment of self government. By contrast, The Blusterfields expose the darker side American experience on their recent LP Thoughts and Prayers. The album explores the inequality and unfairness of American life, shining a light on both those who will not see and those made invisible. But “Here Come the Idiots” focuses its a damning indictment on the MAGA crowd and their enablers.

The Menzingers turn our attention to just who these people are claiming to ‘clean the swamp’ and defend the people. “Other People’s Money” highlights the charlatanry behind these slogans. A band called The Puritans seemed just too apropos not to include here, especially when they are singing how “I Am Surrounded By Evil.” Ok, I admit they probably had me with the ringing guitar drone. Former Mountain Goats bassist Peter Peter Hughes gives us a bit more analysis of the present moment and the illusions that need shattering on “The End of Your Empire.”

The Ekphrastics lay out an electoral strategy that pays particular attention to all the various races that are in play on “Antifascist Electoral Voting Strategy.” As they sing, ‘Vote ‘em out, throw ‘em out, vote ‘em out’ if that’s your jam.

Maybe it’s the beginning of the end for this bizarre political interlude America has been going through. Or maybe it’s not. Let the countdown to voting day begin.

Photo courtesy US National Archives Photostream.

Meaty melodies: My Life as a Bird, Ultra Lights, and A Country Western

10 Thursday Sep 2026

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Generally speaking I’m more light than dark. Give me chirpy treble lead guitar over screaming solos every time. But every now and then you can add in some chunky rhythm guitar parts and inch the amps up past 11. As long as there’s a melody buried in there somewhere. Today’s acts get a bit more meaty than our usual fare but don’t stint on the hooks.

A while back Bandcamp Daily ran a feature on power pop and I had covered every act but one – San Jose’s My Life as a Bird. Skipping through their latest LP The Cabana I was immediately drawn to the skipping-along fun-grind of track #2 “Cheers To My Old Friends.” It had just the right mix of dissonant rock intensity and carefree abandon. The influence haunting this record is Weezer, obviously, but in highly original ways. You can hear it in the combination of dread and hookiness on cuts like “Other Worlds” and “Growing Up.” “Ankle Brace” sounds a bit brighter, poppier, like Weezer cut with Sugar Ray. Meanwhile “I Hope You Don’t Hate Me” and “Sadie” both stretch out dissonant drone into more slow and seductive material. For departures, there’s “The Cabana,” a slowly building kind of punk Beach Boys while “Sleeping In” is just adrenaline fueled power pop. Then album closer “Who?” reminds me of the Plain White Ts.

If you went to an Ultra Lights concert it would be like being buffeted by a consistent wall of sound, each song inviting you into a kind of aural mosh pit. Their songs have sonic equivalence that allow them to relate to each other while retaining their own original contribution. Sometime albums are like that, they exude a coherent slab of artistic feeling. That’s what I’m hearing on the band’s debut album Pleasure’s All Yours. The LP’s title track opens the record with a drony groove that only improves with repeated listens. The guitar tension pulling at “Good Enough” reminds a bit of The Futureheads. “Diamond Dreams” rides a relentless lead guitar lick into a kind of repeated meditative surge. Then you have “Nostalgia,” the clear radio-ready single here. “Got Damage” is also a singalong chorus charmer. This whole record is a full listen pleasure centre. You’re gonna hit play and just enjoy the trip from the start of side one to end of side two.

Check out the exquisite atmosphere A Country Western establish from the first bars of “Great is the Grip of the Hawk” from their 2024 LP Life on the Lawn. You are enveloped in a tonal topiary, so carefully manicured is the sonic landscape. Start the montage. Then “Sidewalk” clears the air, its aural attack is more straightforward. “The Dreamer” launches with legendary rock and roll chords before going for a Velvet Underground talk-singing strut. “The Spine” and “How Far (ft. Winter) couldn’t be more different in their vocal approach, one subdued, the other a bit wild. The rest of the album continues to play with layering sonic elements in slight tension with each other, sometimes bouncy (“Ridgeline”) or propelled by a buoyant lurch “Magnetic.” “For a Voter” is the closest thing to a pop song on the record, resting firmly in the REM tradition. “Hiding Out” dials things down to most minimalist folk rendering. Then closing cut “Wasting the Weekends” ambles us out the exits, releasing us from the grip of a pretty intense artistic experience.

Substantial doesn’t necessarily mean heavy, though that’s ok too. Here were three acts going a bit deeper sonically than our usual offerings but without neglecting the melodic hooks. Each bears spending a bit more time with to really land on their scene. Further hyperlinked liaisons are definitely recommended.

Photo courtesy Thomas Hawk Flikr collection.

They just haven’t earned it yet, baby

06 Sunday Sep 2026

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Are The Smiths uncoverable? I think most fans would say yes. Between Morrissey’s distinctive vocal and Marr’s ringing guitars, everything about the execution of their material says ‘this is it, the definitive version, don’t bother’. And yet people do make the effort. Here are handful of covers that attempt to square the ‘uncoverable’ circle by a variety of ingenious methods.

Covering The Smiths means addressing the Morrissey problem. The guy is like a new wave Frank Sinatra – immediately recognizable, putting his stamp on material in a way that says ‘this is mine and mine alone’. One strategy I see bands covering The Smiths take up is to do away with the vocal altogether. Clever. Goodbye Morrissey issue. But can a lowly instrument really replace the Mozzer’s weighty vocal dread? You’ll have to be the judge. Agent Double (By La Momie) definitely give the lead guitar and bass a workout all over “Girl Afraid.” Very Smiths sans Morrissey. By contrast Goodnight Productions’ take on “William It Was Really Nothing” is lounge weird in a fun, almost goody way. 8 Bit Mixtape is a bit more of a serious keyboard-dancey with “Bigmouth Strikes Again.” And we get even more serious with Jessica Gallagher’s solo piano interpretation of “Asleep,” which really suits the song. Janice Whaley reverses the strategy, ridding her cover of all instruments except her voice. I think her reinvention of “You Just Haven’t Earned It Yet, Baby” has definitely earned it. Baby.

Not everyone is ducking the vocal challenges here. The Persian Leaps rock up “Jeane,” reminding us that The Smiths material can be cast effectively in different rock registers. The Time Tourists chop up “How Soon Is Now?,” alternating the order of its components parts in an intriguing way. The Regrets really do invoke the spirit of the original on “These Things Take Time” with a vocal that does its own thing. The Bad William version of “The Queen Is Dead” is more loose and punk than the kind of thing our tidy Mancunians typically offered up. There’s plenty of dread and drama on The Rest doing “Stop Me If You Think You’ve Heard This One Before” with a vocal that sounds decidedly new romantic. Alternatively, William Fitzwilliam’s breathy murmur on “Please Please Please Let Me Get What I Want” is nicely complemented by intermittent banjo breaks.

Of course, one way to cover The Smiths is to be a spot on Smiths cover band. This Charming Band definitely deliver the goods on “Hand In Glove.”

Photo courtesy Markus Janssen Design.

Spotlight single: The Sway “Bright Eyes”

31 Monday Aug 2026

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A few weeks ago I caught one of those short reels that pop up on social media for a tune by Liverpool band The Sway. The clip was enchanting, offering just 20 seconds or so of a song whose rhythm, pacing and mix of instrumentation was both alluring and a bit mesmerizing. But the clip didn’t identify the name of the song. So that led to a rabbit hole search to find out about the band and their catalogue. Yet after I had needle-dropped my way through their handful of available material I was no closer to finding the mystery cut. Trolling through their recent social media posts did eventually turn up the song’s title: “Bright Eyes.” Talk about playing hard to get. The band was teasing fans with snippets of the song and what appeared to be a video or live performance while making us wait weeks for the final reveal. Turns out the track was the final addition to the group’s latest EP World in a Picture, which finally emerged into the full light of day at the end of August. Getting to hear the whole song was even more of a revelation. The basic, mildly propulsive verses remain a point of extreme attraction but now we can hear the dynamite bridge and chorus too. Stylistically and sonically, the song marks a distinct departure from their usual more indie-rock material, emphasizing a lighter, poppier jangly vibe. It’s an effort that one could favourably compare to fellow up-and-coming Liverpudlians Keyside.

I’m liking where this band is going with their latest release so I’m going to keep my eye on them. You can too at these fine social media establishments.