The Haim sisters strutted back into our lives with the release of ‘Relationships’ back in March. A pristine return from the trio, it was a natural follow-up to ‘Women In Music Part III’ – revisiting that summery funk sound that they’ve so carefully made their own with gliding bass lines, kinetic drums and shimmering synths. Exploring the trials and tribulations of modern romance, it’s another summer indie classic from the sisters – and what’s more, it’s full of killer hooks.
If you need to dispel any negativity into the ether, take a listen to ‘VILE’ from Fog Bandits – three minutes of bludgeoning riffs and incendiary punk rock. Produced by the increasingly prolific Blair Crichton, it’s a thunderous introduction for those not yet acquainted – a heady concoction of punk, nu-metal and 90s alt-rock distilled into a fast and furious anthem made for huge stages.
Marking their first release since their ‘Still Life’ EP, ‘Wait for Nothing’ saw Fright Years take another step forward – with Jules Kelly’s magnetic vocals set against a cinematic backdrop full of swirling guitars, shifting from delicate to soaring and adding an emotional weight the song’s message of hope and self-belief.
‘Bitter Minded Lover’ is a playful, theatrical number about being with the wrong person, inspired by 1960s songwriters like Melanie (Any Guy) and Harry Nilsson. Like the songs have come before, her arresting vocals take centre stage against a backdrop of orchestral flourishes and country influences – delivering her compelling narrative with her tongue firmly in cheek, turning a tale of romantic mismatch into something fun and playful. It’s a typically bold and compelling return from a fiercely unique artist.
On ‘Feel The Same’, Fletchr Fletchr encourage listeners to open up and talk about their problems. Known for their emotion-driven pop-rock tunes – the band blend deep vocals, gliding harmonies, big guitars and hooks to create their unique, towering rock sound. This track is full off their trademark urgency, driven by their spirited vocals as they career towards a euphoric finale. It’s cathartic, anthemic and full of heart.
‘Where We Were Before’ featured on The Rooks’ ambitious debut EP this year ‘Noise and Confusion. It has it all – big Oasis-esque riffs, a strong lead vocal, a rousing guitar work and an emphatic tempo change at around the five-minute mark to see the track off in style, Frontman Ross Gardiner has commented, “It was really important for us that we capture the feel of the live show for listeners who haven’t seen us yet. It’s a seven-minute song for a reason. We’ve crammed the energy we bring to a one-hour long show into that one song.”
A commanding slice of alt-pop, Goodnight Louisa uses ‘Jennifer Aniston to explore the darker side of image and societal norms against strutting rhythms, inventive synths and a quietly addictive chorus. Channelling the likes of St Vincent, it’s a bold, confident track from an artist who undoubtedly hit a purple patch of creativity this year – culminating in the release of a new album ‘Marathon’.
Another member of the TENEMENT TRAIL 2025 alumni, Katie Nicoll shared new single ‘your friend’ this year. Known for crafting indie pop gems full of hooks and personal lyrics, the new track saw her rich vein of form as she reflects on a lost friendship over a catchy, upbeat instrumental.
‘Fun’ marked an exciting new chapter for Spyres – adding fresh elements to their sound and taking them on a new pop-leaning trajectory. Marking their first release since their 2023 EP ‘Karaoke Sellouts’, the big choruses and irresistible guitar-driven melodies are still very much present and correct, but they’ve added inventive synths, big basslines and gang-like vocals – channelling the pop ambition of Chappel Roan, Olivia Rodrigo and others.
Channelling the likes of Radiohead and Mazzy Star, ‘Peach Sky’ is a deeply affecting track about memory, impermanency and fleeting beauty – one that immerses the listener with moody guitars; gliding, ethereal vocals and cinematic textures. With raw emotion at its heart, it feels both intimate and expansive – seizing the heart with its diaristic lyrics and emotive vocals. An artist who evolves with each and every release, it’s a poignant return from one of Scotland’s most consistent and talented songwriters.
New York outfit Geese shared their critically acclaimed album ‘Getting Killed’ this year – including singles ‘Trinidad, ‘Taxes’ and ‘100 Horses’. The latter is another wild and unpredictable track – a rambling, groovy rock tune that welcomes global collapse. Propelled by a chugging rhythm section, they once again reject any form of traditional song structure – leading us into an absurdist apocalyptic dance party.
We’ve been huge fans of Scotstown Dance Band since they dropped their debut single ’Shawfield Greyhound Stadium’ last year, and they’ve now shared their first EP ‘post-Ceilidh’. Containing the first four singles released by the group so far, as well as one final new track called ‘Last Drink’, it’s a stellar debut – one that’s rooted in the Highland sounds of their youth, having grown up in Sunart, west Lochaber. Marrying rich storytelling, indie edge and traditional ceilidh-inspired influences, it makes for a warm, nostalgic and infectious listen. New song ‘Last Drink’ encapsulates everything we love about them – it’s an upbeat parody of a typical west coast drinking song with a jig-time accordion melody and singalong choruses. Underneath though lies a cynicism rarely found in the genre, as the narrator bemoans his poor send-off.
Paisley five-piece LeisureLand shared their appropriately titled single called ‘Freddie Krueger’ just in time for Halloween. Usually known for their bright, upbeat indie tunes, this new track shows a more emotive side to the outfit – using the character of Freddie Krueger to represent how someone can haunt your mind. Perhaps one of the more underrated vocalists on the scene, Adam Dolan is soulful and heartfelt over a more melancholic, progressively heavier instrumental. They say: “We decided to have a character represent our song in this instance. We chose Freddy Krueger to personify the way someone can haunt your dreams. It’s a lot heavier and perhaps deeper than anything we’ve written before.”
Following the success of their debut album a couple of years ago, Wet Leg tr-emerged as an entirely different beast this year with the release of ‘moisturizer’. Returning with a renewed sense of purpose and vigour, their confidence and newfound star power translated into a bolder, heavier and punchier record that shifts from 80s synth influences and Kate Bush-esque balladry to 90s alt rock. The opener ‘CPR’ showcases this shift perfectly – it’s a grungy banger full of pulsing beats and their signature witty lyrics.
‘Of The Sorrows’ marked the first piece of new music from For Those I Love, aka David Balfe, in four years. The self-titled debut album, an unflinching record that faced head-on the grief of losing his best friend Paul Curran, was rightly hailed upon its release – and the new single carries a similar gravitas with its direct spoken word lyrics and vibrant soundtrack. Written about his tumultuous relationship with Dublin, he said: “When I wrote “Of The Sorrows”, it felt like I was bargaining with myself. It was one of the first songs I’d written to myself, for myself, while still trying to embody the feelings and thoughts of my closest peers. At its heart, “Of The Sorrows” is about a city rapidly boxing you out, and the choices you make in order to stay”
Alcatraz won our TENEMENT TRAIL competition this year, beating off hundreds of entrants to earn a spot at the festival. Inspired by grunge, post-punk and alt-rock, the band seized our attention with their heavy sound, defined by huge riffs, dynamic rhythms and alluring lead vocals. Produced by Gianluca Bernacchi of Gallus, the band shared ‘Nowhere Man’ towards the end of the year – brimming with atmosphere, confidence and sledgehammer guitars.
‘Fothering Day’ by Lizzie Reid is a track dedicated to her friends and family, old and new. Featured on her ‘La Bodega’ EP, it’s a track that the singer-songwriter wrote a few years ago during a formative stage in her life, when she was attending jam nights at a Spanish tapas bar in Glasgow, a place that became a hub for local musicians to practise their craft and form important, lifelong friendships. It’s one that holds a special place in her heart then, and the hearts of listeners alike – detailing the loss of a platonic love where the sadness of goodbye is alleviated by the poignant acceptance that it’s for the best. With its stunning harmonies and confessional lyrics, there’s a gentle closeness and homespun feel that seeps through the track – and this makes it all the more intimate and affecting.
Lorde made her long-awaited return this year with the release of her fourth album ‘Virgin’. After the reflective, introspective sounds of ‘Solar Power’, this follow-up record ushered her back to the dancefloor – channelling the heady days of ‘Melodrama’ in its cathartic synth-driven highs and expertly crafted pop anthems. The album roll-out started with lead single ‘What Was That’ – an emotional, electric return about the fleeting passing of youth.
Former Champ shared their brilliant debut album ‘i saw you in paradise’ earlier this year. One of its many highlights is ‘porcelain’ – a track inspired by singer Claire McKay’s childhood at the tail end of the Troubles in Ireland. Packaged into 90 seconds of sweet, addictive indie power pop, it’s carried by swaggering rhythms, glistening guitars and the frontwoman’s vivid lyrical narrative.
Soapbox enjoyed another huge 2025 – performing across the UK and Europe and releasing their new EP ‘Lock In’. A raw, unapologetic slice of punk rock, ‘Do As Ur Told’ is the sound of a band who have found their lane and flourishing in it. Delivering their message emphatically in a fast and furious two minutes, it’s about abuse of power, specifically about their experiences in the music industry – however, it’s a message that can be felt universally by those who feel ground down by their boss, landlord or anyone else in power.
After bringing a darker, punky edge to singles ’110sOn’ and ‘ChAnge’, this single from Psweatpants is every bit as emphatic – led by his confident, assured delivery and powerful vocal hook. Featured on his EP ‘LIFE WAS SHIT, IT’S BETTER NOW’, he’s an artist who grows with each release.
Sister Madds are a band who deal in punchy punk tunes – defined by their razor sharp hooks, biting lyrics and sugary pop melodies. Their recent single ‘Performative Exercise’ is an instantly addictive number produced by Blair Crichton that takes aim at those who run marathons ‘performatively’ to get away from their troubles. It’s fun, feisty and is filled with electrifying guitar work – leaving you gripped for its entire three-minute runtime without ever taking itself too seriously.
Off the back of the global success of ‘Romance’, Fontaines D.C dropped a bonus single earlier this year in ‘It’s Amazing To Be Young’. Like album favourite ‘Favourite’, it’s one that captures the heart as the band offer a striking blend of raw inner turmoil and soothing reflection, revelling in the innocence of youth while looking to a brighter future. A brilliant burst of optimism amidst the chaos, it races to an emphatic, arena-filling finale.
Featured on her acclaimed debut album ‘The Consequence of Love’, ‘Angel’ is a beautifully raw and stripped back number that feels like it’s from a bygone era. Showcasing the singer’s songwriting flair, there’s a quiet determination over its sweet melodies and a newfound confidence in her delivery. “‘Angel’ is one of those songs where I sat back and thought, “Did I just write that?,” Rianne says of the track. “It’s probably the track I’m proudest of. A classic fingerpicked country tune, I wanted it to feel timeless, like it could’ve been written today or in the 1950s.”
Following the release of the brilliant ‘Glow On’ in 2021, Baltimore outfit Turnstile once again pushed the boundaries of what a hardcore band can be with the release of this year’s ‘Never Enough’. The title track set the tone perfectly; the cool, ethereal synths paving the way for an onslaught of thunderous riffs and rhythms. Featuring one of their most anthemic choruses to date, it’s simple, direct and absolutely addictive.
Known for bending genres, warping expectations and continuously pushing the parameters of her sound in new and exciting ways, Rosalia shared her most ambitious album yet this year in ‘LUX’. Marking her fourth full-length release, she masterfully combines the worlds of classical music and avant-pop on the record – and it makes for a dramatic, emotional and wholly immersive listen. The lead single ‘Berghain’ is absolutely epic, full of operatic drama, thunderous strings and star turns from Bjork and Yves Tumour. It’s a must listen.
Featured on their debut album ‘Learning Greek’, ‘Memorial’ is an intense, high-wire track that explores the inevitably of death, with frontman Christoloudis using poet Alice Oswald’s titular reinterpretation of Homer’s Iliad as inspiration. Full of buzzsaw guitars, guttural vocals and gripping tension, the frontman says: “Memorial describes a scene from the Iliad in which Andromache must say goodbye to her husband Hector the night before he’s killed in battle. The main theme of the song is imminent disaster and trying to remain stoic in the face of it.”
‘Nothing But Love’ by rising soul singer James Emmanuel is a love letter to the Edinburgh. Featured on his debut EP ‘A Time To Heal’ on Decca Records, it’s a song rooted in love and gratitude – to the city that gave him a stage, to the people who welcomed him and to the home he never expected to find. A beautifully crafted piece of soul music, it channels his many influences, from his gospel roots in Nigeria to bygone heroes of the past like Marvin Gaye and Bobby ‘Blue’ Bland, as well as his own personal journey – one that has been full of twists and turns, heartbreak, joy and catharsis. Most of all, it showcases James’ ability to write with heart and truth.
Hailing from Derry, Dirty Faces feature Rare Boy on vocals and King Crabbit on bass guitar and backing tracks. Describing their style as “Rant-Hop”, this disco-punk/hip-hop two-piece have been dubbed “the Walled City’s answer to Sleaford Mods”, and have enjoyed a busy 2025, supporting the likes of Kneecap, Gallus and more. ‘Homemade Kite’ sums them up perfectly – an intense three-minute punk assault of brutish bass lines and commanding vocals. If you’re not yet acquainted, now’s your chance below.
Olivia Dean reached stratospheric new heights this year with the release of her second album ‘The Art of Loving’ – featuring huge viral hits like ‘Man I Need’ and ‘So Easy (To Fall In Love). At the heart of it is ‘Nice To Each Other’, a breezy summery song that emulates the euphoric early stages of meeting someone new and exploring that spark. With her gorgeous, soulful vocals set against a sparkling guitar-led groove, it’s un uplifting tale of modern romance – and one of our highlights of the year.
Gallus returned this year with a new EP this year called ‘Cool To Drive’. Produced by Dead Pony’s Blair Crichton, ‘Cool To Drive’ it bursts with scuzzy punk energy and biting hooks from the very get-go, bringing their punk, alt-rock and post-punk influences to the fore with more groove and gusto. From the eccentric opening title track, a song inspired by Richard Hillman of Coronation Street that details the deteriorating mental stability of its fictional narrator, the band set a fast and furious pace with brazen guitar work and pummelling drums, and it never quite lets up. The writing feels sharper, the melodies feel catchier and it’s bursting with a freeing, infectious spirit.
So much has happened since Kneecap released their huge, critically acclaimed album ‘Fine Art’ in 2024. 2025 had its fair share of highs too – in amongst all the furore, court cases and needless headlines, the band delivered a triumphant performance at Glastonbury, performed all over the Europe and even headlined the Hydro in Glasgow, their biggest headline show to date. One of the most vital acts around right now, they also shared huge single ‘The Recap’ – a sharp, powerful, politically charged track that reasserts everything they stand for. Set against dark, frenetic beats, it opens with a news bulletin about the counter terrorism police investigating them, directs some much-deserved snark at the tories and builds to a riotous and anthemic chorus. It’s a huge crowd pleaser that’s known to cause chaos at their live shows.
It was a huge year for Irish singer-songwriter CMAT who reached new levels of stardom with the release of her widely acclaimed third album ‘EURO COUNTRY’ – reaching number 1 in her homeland, number 2 in the UK, and racking up hugely memorable sets at Glastonbury, Primavera and more. Featuring huge songs like ‘Running / Planning’, ‘When A Good Man Cries’ and more, ‘Take A Sexy Picture of Me’ became a viral sensation thanks in part to its accompanying TikTok dance. All that aside, it’s a brilliant piece of songwriting in which, based on her own experiences, she critiques societal beauty standards and the pressure women face online through the veil of catchy country pop.
Lacuna have carved out a reputation for their rich storytelling and melodic flair, expertly crafting intricate and dynamic soundscapes that often lull the listener into a false sense of security before taking flight. New single ‘Shelley’ is a long-time live favourite and the recording captures the essence of their captivating live energy – opening in understated fashion before unfurling into three minutes of infectious chaos. Coming together in a quick ten minutes in the rehearsal room, there’s an electric spontaneity to it, as the band bring the character ‘Shelley’ to life – a quiet wallflower who secretly wants to join the ‘in crowd’. Filled with harmonies and dynamic rhythms, it’s a cathartic, euphoric and wholly uplifting track that features on their EP ‘What If I Told You I’d Been Lying The Whole Time’.
Fresh from their performance at TENEMENT TRAIL, hotly tipped Irish outfit Madra Salach shared ‘I Was Just A Boy’ – set to feature on their upcoming debut EP ‘It’s a Hell of An Age’, out on 26th January. A stirring, atmospheric track, frontman Paul Banks is gripping from the outset, filled with anguish and fiery intent against a swirl of acoustic guitar and mandolin – before the track gradually unfurls into something more intense as the rest of the band join the ensemble. Showcasing their excellent knack for songwriting, it’s a simple folk track at its core, but it’s their ability to manipulate and form these traditional influences that really shines through. Running in at seven minutes in length, it gathers in intensity and whirls towards a loud, cathartic finale with an amalgamation of synths and different embellishments
Dunfermline artist Jacob Alon was nominated for the Mercury Prize and SAY Award for their beautiful debut album ‘In Limerence’ this year. Featuring many moving highlights, ‘Liquid Gold 25’ is imbued with lyrical vulnerability and direct honesty we’ve come to expect from their intricate songwriting. Named after the brand of poppers and inspired by a recent hook-up on the dating app Grindr, it lyrically explores Alon’s wish to dissociate, and the destructive impulses that can arise from our desire to feel wanted. Set against a guitar hook and hi-hat, it shines a light on their ethereal vocals and storytelling flair.
KuLeeAngee have a stellar live reputation, bringing their acid house, electronic and pop influences together in highly addictive and eccentric fashion. This latest release follows suit – it’s a huge party anthem that’s destined for the dancefloor, all big choruses and feel-good vibes.
Featured on VLURE’s acclaimed debut album ‘Escalate’, ‘Better Days’ is an ode to Glasgow – the nights out, youthful abandon, friendship and camaraderie. Brimming with nostalgia and blurry-eyed reflection, a stirring spoken word lyric evokes vivid images of parties and nights on the town over a pulsing backdrop inspired by eighties electronica and nineties rave. Both nostalgic and progressive, it all takes off with a cathartic, euphoric finale.
Falkirk outfit Brogeal shared their debut album ‘Tuesday Paper Club’ this year – an record rich with folk tradition, infectious indie charm and youthful exuberance Recorded at Black Bay Studio on the Isle of Lewis, it features many highlights, including brilliant singles ‘Vicar Street Days’, ‘Friday On My Mind’ and ‘Go Home Tae Yer Bed’. Its addictive title track sums the band up perfectly – retaining all of the raw charm and nostalgia that drew us to them in the first place, with plenty of catchy choruses, beer-soaked revelry and storytelling flair thrown in for good measure.
Following the release of her debut album ‘Dancing At The Edge of The World’ at the start of the year, Edinburgh singer-songwriter Brooke Combe was not for waiting about or resting on her laurels. Instead, while basking in the success of that record and its widespread acclaim, she quickly followed it up with the brilliant ‘How Can I Tell You? (To Love Me More)’. Produced by The Coral’s James Skelly, it’s a track that encapsulates all we love about that album but with a more raw, upbeat energy. And despite its infectiously upbeat groove and smooth vintage soul influences, it has raw emotion at its heart as she makes a powerful cry for connection with her father. She says: “Rather than a typical love song, it delves into the emotional struggle of a daughter who has spent some time trying to be seen, heard, and truly loved by her father. It’s a tribute to those yearning for connection where it matters most.”
