Welcome back to the Singles Bar, the place where we explore some of the more interesting individual tracks that have been submitted over the previous few weeks. This time out, we’ve got a brilliant bluesy number, a track from a singer songwriter who nails a 90s sound perfectly, a couple of poppy numbers and more besides. As always, we hope you find something new to enjoy.

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On his current single ‘September’, Ben Denny Mo captures a superb adult pop sound. From the moment the intro hits with a flurry of stabbed piano notes and an upbeat summery feel, the singer-songwriter reels in his audience with ease. As the tune blossoms into a buoyant workout where sharp rhythms juxtapose a flowing bass, the melody’s feel good elements really start to take shape. Even when things take a more sedate turn for a quieter middle eight, the arrangement clings defiantly to a positive quality at a time when the world feels anything but… Ben’s slightly gravelly voice is occasionally at odd’s with the track’s shinier qualities, but that in itself adds extra character, leading to something that open minded pop-rock aficionados will almost certainly enjoy.

A choir of multi-tracked voices introduces ‘Phantasmagoria’, and by using those as a near constant backdrop throughout the next four minutes, Ani Glass layers up a world of sound where her high toned lead vocal weaves dreampop-ish magic, blankets of synth add strange, ambient tones, and stringed instruments eventually suggest something folky. As things progress, the lead vocal, too, leans towards a folky melody dressed with an otherworldly quality which manages to be a world away from the retro synth pop that drove the title cut of Glass’s ‘Mirores’ LP from 2020. A few programmed beats are likely to split opinion here, but in the main, this should provide an interesting listen for the more adventurous pop/indie fan.

Jangling guitars and a semi-acoustic vibe aren’t necessarily the first things you’d associate with an angry workout, but Sam Varga juxtaposes a seething lyric with a feel-good pop-rock melody to brilliant effect on ‘Minute Man’. He laments the “passing of the nuclear football”, melting of the ice-caps and teases about a cure for cancer being “locked away” whilst those in charge “crack open another beer”. By referencing children kissing their mothers before school because they “don’t know if they’re coming back”, it’s a song that really doesn’t mess around. It’s also the kind of track that really hits from the get go. Musically, the layered sound falls somewhere between Pete Yorn, Five Easy Pieces and other sounds 90s pop rock boom spearheaded by Matchbox Twenty, but everything has a huge appeal, and repeat listens only confirm its all round brilliance.

Mixing post grunge tones with light prog metal-ish flourishes feels like a brave way to open a single, but British rock band Soulweaver manage this pleasing musical marriage, creating a strong first impression on ‘Red’. Revisiting this busier riff during a couple of bridge sections ensures it feels like so much more than a red herring, even if things ultimately settle into a classic brand of hard rock and melodic metal sound elsewhere. The arrangement’s more direct riffs lead to a listen that is still strong in its own way, and with a driving guitar sound pushing hard beneath a very natural vocal, Soulweaver’s commitment to a solid sound is more than clear. That will be enough to hold the attention of the first time listener, whilst the inclusion of a really old school lead guitar break should appease the “traditional” rock and metal fan base a little more. The production values often belie the band’s DIY origins, but the musicianship is more than commendable throughout, and in the main, ‘Red’ shares a tough and energetic style that suggests that Soulweaver have some solid chops. This is the kind of track that’d sound far more impressive live, of course, but it’s still got enough confidence and power to hold its own in this studio cut.

Jack Rowberry’s 2024 single ‘Shoes In Hand’ shared a very radio friendly sound. The Scottish singer songwriter blended roots rock with a touch of pop and presented a slight bluesy edge to his lead guitar, creating something tailor made for an adult audience. As tight as the musical elements were, though, it was often his rich vocal that took centre stage. ‘C’est La Vie’ (recorded live at Post Electric Studios) casts more of a spotlight onto Jack’s guitar as he throws out sizeable bluesy tones over the course of six minutes, but his playing never detracts from a great vocal. On this recording, he showcases even more of a vocal strength, unafraid of a couple of wobbles, and always willing to sell a huge but familiar melody. There are moments here that occasionally sound like a couple of Blues Traveler’s more sedate tracks – without the incessant harmonica, obviously – and during the instrumental break, especially, Rowberry shows off the kind of raw talent that shows why blues and bluesy rock sounds will never get old.

Following the really bold ‘Nightbird’, singer-songwriter Celeste Corsano scales back her arty side and opts for something more melodic with ‘Stuck’. More melodic doesn’t mean “less interesting”, however. The opening verse sets up a brilliant combo of rolling piano and vocal, creating a sound that fuses the retro pop of the late 60s with the dream pop and indie of the 90s, over which Celeste shares a rather fey vocal. Her fragile tone gives the melody a slightly quirky feel, but without lapsing into anything that could be considered novelty. The chorus injects a little speed and a fair bit of reverbed guitar, and underscored by a blanket of old school organ work, everything latching onto a melody that feels like buried treasure from the 60s. By the time the second verse rolls around, the chosen melody feels even stronger, but its the instrumental break that really sells the track, with an overdriven guitar sound taking centre stage, making good on a few garage-ish vibes from yesteryear. With a push and pull between a tough lead guitar and floaty melodies, this proves it’s possible to be both arty and accessible.

Having already shared some excellent pop singles, Lloren continues a hot streak with ‘Casual’, a brilliant and buoyant number that seems set to soundtrack the later part of the summer. Building from a huge synth drone, programmed beats set up a mechanical backdrop that rattles along with a train-like momentum. Dropping the relentless rhythm for the chorus allows for a more cinematic sound, taking the track from pure pop into the realms of something a little grander, but at all times, it’s Lloren’s vocal that steals the show. Often likened to Lana Del Rey, on this track, the performer’s vocal adopts a Lissie-esque curl at times, which gives a strong melody and obvious lift, and armed with a fantastic hook, the singer delivers one of their catchiest numbers to date.

Just a few months after the release of their debut EP ‘Kiss Me On The Mouth’, Bristol’s Oswald Slain – formerly Little Thief – have returned with the brilliant ‘Firing Line’, a huge, swaggering track that takes their brand of indie rock further into the realms of radio friendly sounds. From the outset, the number’s hefty rhythm taps into something that sounds like a distant relation of ‘AM’ era Arctic Monkeys, but the mix of beats and bright sounding guitar lines offers something a little more distinctive. Once Charlie starts to sing, his distorted voice gives extant fans something that feels immediately familiar, and applying that to a huge chorus, Oswald Slain sound like an indie rock band with far more confidence than before. Bringing back the introductory melody as a major hook gives a pleasing contrast with the more bombastic chorus elements, and although everything falls in line with the best of the EP tracks, tighter songwriting and a punchier sound gives the feeling of a band pushing forward.

July 2025