During the first half of 2025, our weekly Singles Bar feature went from strength to strength. The daily submissions piled up, and in keeping with the second half of ’24, no matter how many great tracks we highlighted, there always seemed to be a few that slipped through the cracks. This Summer Special shines a light on some of the greatest tunes and more interesting bands that didn’t make the cut. These shouldn’t be considered leftovers, though – everything here is of a hugely high standard. We’ve got blues, country, metal, a couple of interesting twists on a pop sound, a couple of off kilter indie bands…and far more besides. Grab yourselves a cuppa and turn up the volume: these twenty selections are all worth hearing in their own right, and when experienced together, act as a reminder of why our Singles Bar has become one of Real Gone’s most popular features.
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Avery Friedman’s ‘Photo Booth’ has a great crossover sound. The huge mechanical rhythm that’s set in place from the outset gives the track an 80s heart which, along with a few wibbling keys, makes for something a little retro. This isn’t a love letter to the past, though: building on those elements, Avery adds a more contemporary quality via a hushed vocal, that at times feels a little aloof, but still conveys a strong melody. Then, there’s a world of distortion that helps steer this somewhere different again, melding a pop sensibility with a fuzzy indie quality that’s bound to click with those who actively seek out underground sounds. It’s not a track that’s big on hooks, but the atmosphere that Friedman builds here is superb, definitely marking them out as an emerging talent for ’25.
The very definition of cult, Frog – an indie band from New York – have been making waves on the underground for a while. ‘Just Use Your Hips’ is a rather offbeat single, but one that offers an effective window into their lo-fi world. You’d think the busy stabs of piano – on loan from old yacht rock deep cuts and Billy Joel records – and shameless falsetto vocals would really benefit from a big, lavish production. …And you’d be right. However, bend your ears past this recording’s obvious limitations, and Frog’s homespun approach brings a charm all of its own. Despite the lack of budget here, the vocals still hit with a genuine enthusiasm – not to mention a shameless quirkiness – and the spiky rhythms still cut through despite the demo style presentation. This is like hearing something from Sufjan Stevens put through a ‘Bee Thousand’ era Guided By Voices filter; a strangely alluring gem that proves great pop knows no boundaries.
Opening with a very 70s sounding piano riff, ‘Little Acts of Violence’ by indie pop band Ray Bull has a brilliantly commercial edge. As the tune builds, though, it becomes a piece that’s full of great layers. A wall of filtered vocals on its main hook calls back to old ELO and 10cc classics; an orchestral backdrop brings a welcome sense of pomp that feels so much bigger than other Ray Bull tunes, and a rather grand vocal melody blends the past and present with ease. This isn’t necessarily about immediacy – it’s certainly not as catchy as a couple of their other EP tracks – but in terms of sharing great adult oriented pop, it’s a single that does a grand job.
David WILTs, the frontman with Scottish indie punks Petty Cassettes, adopts more of a melodic mood on his solo track ‘Hope, Walk This Way’. The number’s buoyant rhythm immediately shares an optimistic vibe, and the equally summery jangle that cuts through a strident guitar part compliments the groove with ease. Although this is musically striking – sometimes taking on the mantle of a Supernaturals deep cut – its David’s vocals that are likely to create the lasting impression. Armed with a very positive lyric, he attacks the melody in a hugely affected accent – never wishing to shy away from his geographical location – and eventually rising from a strong pop-rock friendly tone into shimmering falsetto to sell a big hook, he lends the sometimes poppy track the feeling of something gently arty. It’s the kind of single that has an enjoyable quality that doesn’t diminish over time.
Despite flaunting a contemporary production sound, there’s something pleasingly old school about ‘Triage’ by Edmonton punks Real Sickies. There’s the careening and sneering vocal that owes a debt to punk’s first wave, but the retro feel runs deeper than that. The track’s lengthy instrumental section features a chunky guitar sound that hints at a love of mid 70s proto-punk, and a manically stabbed piano reinforces the love of a musical past, and that really stretches this track far beyond the usual punky boundaries. What’s really impressive about this number, though, is the way it retains a huge knockabout quality, even though its extended playing time might suggest a lack of punch. The punkier elements are incredibly sharp, though, and when things reach fever pitch, an increased tempo driving a shout along hook creates a brilliant climax. Don’t be afraid of cranking the volume and just going with it…
The stabbing piano applied during the intro of Staci Gruber’s ‘No One Is Alone’ evokes 70s pop in the strongest way, and by doing so, makes the track immediately irresistible. As the arrangement slowly branches out, firstly by allowing Gruber’s very natural vocal to take centre stage, then by adding a very melodic but very jangly guitar, there’s more of a 90s singer songwriter vibe, but the song continues to share a sound that’s very broad in appeal. By the time the chorus hits, it’s almost impossible not to notice the similarities with the briefly huge Billie Myers, but Staci’s vocals really help to make this performance her own. With the help of a very optimistic lyric sharing the value in relationships, this slice of well produced adult pop is likely to connect with an audience who enjoy things with a fairly mellow persuasion.
In May 2025, alt-pop duo Rags And Riches released ‘Devil In Disguise’, a strong funk inflected track that immediately sounded like something that would soundtrack a northern hemisphere summer. Their earlier ‘Hush’ hints at things to come: it presents a fat funk bassline; the chorus vocals lean into a strong brand of modern pop that’s immediately radio friendly, and the track’s blend of melody and harmony suggests this duo are about to gain a strong foothold within the pop underground. A rap element present on the track’s verse is more likely to split opinion, but this remains a decent pop jam that’s worth revisiting.
Adopting jazzy, rhythmic loops and applying electric piano sounds and deep bass, the core of Zkin’s ‘Shadows’ has a heart that should fit with the downtempo electronica scene. Except it doesn’t. The busy beats lurking behind a fat bass should also make it appeal to the more adventurous jazz fusion fan. Except it probably won’t. There are occasional throwbacks to 90s triphop, without really fitting that now retro sound, and a pure vocal that owes more to a late night easy listen, but the track never seems to fit comfortably there, either. Arty and dark, yet somehow strangely alluring, in some ways, this is a track that sits out on its own. Whether you find yourself drawn to the semi-mechanical rhythms or the aching tones of a very human voice – both, naturally, in contrast with each other, there’s always something interesting here. Zkin’s press materials suggest this is the musical equivalent of a David Lynch influence, and in some ways, its hard to argue with that. There are moments here that vaguely echo Trent Reznor’s score for ‘Lost Highway’ and an occasionally ethereal feel that might suit the sadly departed Julee Cruise. Zkin won’t connect with everyone, but for those adventurous souls looking for something a little different, ‘Shadows’ could provide a window into a very interesting world.
It takes all of three seconds for Kat Robichaud’s ‘Vampire Love’ to transport the listener back to the 80s, in the best possible way. Taking a rhythm that sounds like souped up version of Kate Bush’s ‘Running Up That Hill’ and applying the broad, melodic vocal lines beloved by a solo Stevie Nicks (without the lamb-esque warble) the number comes with a massive melodic heart. That’s enough to make it appealing, but Kat’s chosen lyric, which adds horror overtones to a love story narrative, offers a beautiful contrast to the bright sounding music. Those who’ve found time for Kat’s other work will instinctively know what they’re getting here, but this is easily one of the San Franciscan singer songwriter’s greatest tunes.
As part of the pre-release promotion for her album, ‘Fragile Creatures’, singer songwriter Hannah Rose Platt shared the brilliant ‘The Edinburgh Seven’ in March 2025. The track’s opening acoustic sounds suggest something folky, but Hannah quickly steers her band into a very different musical place where fuzzy, bluesy sounds collide with an even moodier edge, creating something that falls between ‘Rain Dogs’ era Tom Waits, ‘Murder Ballads’ era Nick Cave and the storytelling genius of Amigo The Devil. Hannah’s clarity of voice gives the single its own identity too, and her huge, enthused vocal works a fantastic contrast with the darker aspects of the music. With a lyric celebrating the first women to study medicine at university, it’s also a celebratory track, and one of the most pleasingly cerebral offerings from the first quarter of the year. A fantastic single.
Not to be confused with Neil Buchanan’s 80s band of the same name, Marseille are a young act from Derbyshire who’ve been making waves on the indie scene for a while. Already having gained support from BBC radio, their sound is a guitar driven love letter to the 90s, and on ‘History’, swirling riffs sit against a vaguely baggy drum part with ease, creating an almost irresistibly retro sound. The addition of a rather broad vocal that’s clearly modelled upon Liam Gallagher lends the track a rather deceptive “simple” quality, but crane your ears a little further and you’ll discover some really tight playing and a wonderful, almost blues/jazz inflected lead guitar break that gives this already enjoyable number a touch of the unexpected.
Jessica Brett has been releasing singles since 2022, but ‘Rom-Com’ – released in March 2025 – saw the performer taking a leap in terms of attention. The track doesn’t capture the smooth melodicism of her earlier ‘Loves A Lie’ which aimed itself further towards a purer pop market, but her voice remains distinctive. A blend of glitchy beats contrasting smoother electronica elements creates something far more contemporary, and the way the busy moments are offset by an almost soulful groove certainly helps a familiar sound to feel buoyant. As before, though, it’s Jessica’s vocal which sells this track and even beneath a world of filters, she gives the sense of someone capable of maintaining a huge presence. Dubbed “one of Ireland’s most exciting pop artists”, this is the kind of single that could see her achieving a bigger amount of success in future.
Northern Irish rockers Hard To Explain really don’t believe in breaking things in gently on the powerful ‘Sick’. A track exploring the final days of a toxic relationship, it opens with an impassioned scream taking in the title, before crushing its audience with a heavy riff that showcases a strong groove-laden edge. The harshness is offset by a huge melody, though, and Aisling Faulkner’s huge vocal soars above everything to lend the track even more power, before everything takes a sharp detour into semi-rapped territory bring a strong 90s throwback vibe. With a mix of emotionally raw elements and a classic alt-metal sound, there’s a lot about the Hard To Explain sound on this track that many will find very familiar, but between its anger, sharp lyric and it’s ultimately crushing melodies, ‘Sick’ is a single that sounds anything but stale.
There’s something rather timeless about ‘Words’ by My Glass World. Despite the track hanging on a swung beat that feels a little nineties-centric, everything else about the single transcends a specific period. The keys set up a baroque backing, driven by faux harpsichords and synth stringed sounds that convey melodies very obviously inspired by the late 60s, whilst a buoyant bassline, although never intrusive, adds a depth and warmth. A soaring vocal tops everything with a strong and mournful melody that would’ve suited some of the 70s troubadours as perfectly as the introspective performers of the 90s, and hearing everything in a seamless blend results in a genuine treat. Despite a relaxed nature and lack of obvious sing-along potential, everything here is strong enough to click from first play. It’s a very mature track; almost completely divorced from the band’s saxophone led ‘Show Up’, but one that deserves to bring My Glass World a raft of new listeners.
Those who’ve been following Ledfoot’s career will have come to expect material with a bluesy slant. If anything, though, on ‘Hard Times’, his commitment to bluesy sounds is stronger than ever. Despite a moment during the number’s intro that hints at a broad melody, it doesn’t take long for the one man band to drop into a stomping rhythm and present a huge sounding slide guitar. The semi-acoustic sounds that are quickly layered up hit the listener with a very traditional and rootsy feel, and there’s a darker edge to the vocal that allows Ledfoot’s cracked melodies to draw the very best from a world weary narrative. This mightn’t break the mould, but it’s hard not to be impressed by this man’s incredibly old school style.
…And here’s something equally old school, but in a very different style, courtesy of John Cowsill & Vicki Petersen. ‘I Told You No A Thousand Times’ is a country heartbreaker that, modern production values aside, harks back to the late 50s. This is to be expected from Cowsill, but many still wouldn’t associate the retro style with Bangles guitarist Vicki, despite her connections with the Cowsill family over the decades. This track comes with a strong lilting melody, and despite a solid rhythm, it’s often the back and forth of the gentle riff that catches the ear. Equally strong are the harmonies which drive everything: the husband and wife duo evoke the older sounds of Gram Parsons and Emmylou Harris throughout, and clearly never feel the need to push their voices in any way, preferring instead to let the easy melody do most of the work for them. Despite this sounding like a (non-metric) ton of old style country tunes, this will certainly hold its own and appeal to fans of the style.
Bristol’s Spin Class whip up a glorious noise throughout ‘Bagel Bagel Bagel’. Befitting of the lyrical content sharing thoughts of unease, the arrangement is brilliantly unsettling. Opening with abrasive guitar lines, it immediately suggests something with a post-punk influence, before quickly changing to a classic punk riff, before the addition of some old school metal infused vocals change the mood yet again. Not content with that, the semi-punky riffs subside in places to allow for a funk bass to cut through, and the band subsequently arrives at a distorted bluesy groove that carries most of the number’s musical weight. Repeating the entire sequence, but allowing for an even sharper moment of guitar work to take centre stage along the way, this feels like a collision of great ideas rather than a coherent piece, but then…that’s surely the point…? This won’t be for everyone, but like their earlier track – the funky, horn-peppered ‘Fat Spaniard’ – those who are able to find a way in will almost certainly find themselves entertained.
‘Worthless Lives’, from Chicago’s Bear Mace, is a genuine treat for metal fans. In a little over four minutes, the heavy quintet work through a variety of different moods, each one as sharp as the one before. The number opens with a barrage of thrash riffs ueand screaming lead guitar sounds that sound like an unearthed classic from 1991, showcasing some really tight rhythm work from the bass and drums, before dropping into a lolloping mid tempo groove that sounds like something derived from one of Slayer’s slower tunes. The Slayer influence becomes even clearer with the help of a fine twin lead sound, and then Bear Mace really go for the throat… Cranking the gears for a thrash-death blend, topped with guttural vocals that are a perfect match for the speed driven backdrop, the band attack with absolute force and precision. Then, seeming not wanting to drain their audience’s energy too quickly, the band drop into another slower riff – this time displaying a slight hardcore edge, contrasted by sharp lead guitar work. This shows a gift for a heavy melody, suggesting Bear Mace aren’t just about pure force. Repeating the slower Slayer-esque riff and the intensive thrash melody to finish, this also feels like a complete showcase in a bite-sized workout.
Fake Dad’s ‘Machinery’ is a number that straddles a fine line between the angular and the melodic. From the moment its steady rhythm and chopping guitar work grabs a hold, the number manages to hit a perfect balance between chunky indie rock and a tuneful garage banger. It’s almost perfect for the noisier indie lover; with a melodic heart that calls back to the late noughties, it shares a familiarity that should make it an instant hit. Despite being a little tougher around the edges than the duo’s subsequent single – the really catchy and pop infused ‘Wanto’ – Andrea de Verona’s vocals convey a superb confidence and add a melodic streak that will certainly help this number connect with a broad audience. With a lyric inspired by an industry showcase where, in Andrea’s own words, “female performers were expected to package themselves as fuckable products, and everyone was wearing the same spike studded bra”, this is also a number that’s smarter than your average indie pop outing, making Fake Dad a band to keep an eye for in the future.
In March 2025, Still Traffico made an impression with ‘Two Birches’, a rather offbeat number depicting people as trees on the side of a slip road. Their other single, ‘What’s A Fraud?’, issued just a few weeks previously, isn’t as quirky, but it’s no less impressive. From the outset, the track drops the listener into a world of Teenage Fanclub inspired jangle pop; a place where ringing guitars cut through light vocals and a brilliantly retro sound grabs a hold from the very first play. Production wise, it’s a little live sounding – it certainly doesn’t have the sheer polish usually associated with the style – but a slightly fey vocal that occasionally sounds like Al Stewart brings a whole world of extra melody and also a charm that makes this track a genuine winner.
June 2025