Over the past week or two, the amount of submissions for the Singles Bar column has gone through the roof! That’s made it harder than usual to pick the highlights. Regular visitors to the SB will certainly recognise a couple of names this time around as we explore some of the recent offerings from a variety of genres, but That doesn’t mean the selection is predictable. By jumping between power pop, post rock, Irish music, and even something that’s in almost an ambient mood, our choices really highlight some great sounds filling the underground as we head into the summer. As always, we hope you find something new to enjoy!
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On the cusp of a new album release, ‘Desiderium’ (due at the end of June 2026), Single Gun Theory vocalist Jacqui Hunt has shared ‘Planet’, a wonderfully atmospheric single that aims to take the audience far away from their daily humdrum. A genuine slow burner, the number offers a wealth of ambient keyboard sounds, over which Hunt drops a piercing, high vocal. The mood that is quickly set in place falls between ambient and dream pop, creating something that would be effective even if little more actually occurred. Adding a gradual sense of drama, the track builds slowly from there, with the help of a pulsing beat drawing from the more melodic aspects of chill out moods, allowing a broader base for a louder vocal to form. There’s a little extra volume, but Jacqui never loses sight of the melody’s floatier aspects, using her voice almost as if it were purely extra instrumentation. ‘Planet’ is the kind of track that very much suits a certain time and place, but in terms of minimalist electronica, it’s absolutely superb.
If you’re a fan of power pop legend Donnie Vie, the main thing you’d want from a new single is something that draws heavily from peak Enuff Z’Nuff circa ‘Strength’. ‘Beautiful Things’ delivers that in spades…though not immediately. The busy lead guitar runs that fill the intro initially suggest something with more of a melodic metal energy. It’s a real ear-opener. Pretty quickly, though, Don reverts to a huge comfort blanket, and ‘Beautiful Things’ settles into a melody that borrows heavily from a 1967 Beatles vintage, topped with slide guitar sounds weaving in and out of a huge pop melody. You’ll have heard this sort of thing from Vie time and again, but the combination of melodic guitar work, layered harmonies straight from classic EZ’N and a distinctive lead vocal results in something fans will genuinely adore.
When it comes to a riff, the current single from INDIGØ doesn’t hold back. From its opening bars, ‘River’ delivers a heavy, groove laden sound that occasionally draws influence from Three Days Grace and Shinedown, but also shares a strong DNA with the home grown DIY talents of Silver Dollar Room with its melodic metal/post grunge sound. Brett Galloway and Joe Blackford’s guitars may dominate the track – sounding especially cool when trading in a huge crunch for a chopping riff on the verse – but the other elements here are just as powerful. Ben Gordon’s bass sound is immense and absolutely throbs during the second verse, and Galloway’s vocals are huge. Overall, everything sticks to a tried and tested brand of rock, but in this case, that’s proof that it’s often better to absolutely nail something familiar than to go wildly off piste. ‘River’ is a superb rocker that sounds immense with the volume cranked, and for those who’ve not yet encountered this Newcastle based act, this single will provide a great introduction.
Slow beats, chiming guitars and a hazy feel fill Lukka’s rather lovely ‘Blue Ocean Eyes’, a single that owes as much to melodic psych as 90s indie sounds. The record’s crisp production brings out the very best in a fine guitar sound and a warm bass, but it’s the vocal that really captivates here. The way a slightly distant, dream pop infused sound seems at odds with the music sets up a striking contrast, giving the feeling that these musicians inhabit a much broader soundscape than most. …And that’s before taking the track’s pointed and almost atonal instrumental break into consideration. This is a superb exercise in how to take lots of elements from a musical past but reshare them in a way that still has a genuine spark. Equal parts atmosphere and strong melody, this is a wonderful track.
Taking traditional elements of Celtic music and sharpening them for the current age, The Labourers go back to their roots on ‘One Long Goodbye’. The basic melodies sound like they come from decades ago, but with the help of a punchy production value and slightly rockier approach taken by the rhythm section, the track serves up something that sounds tailor made for a generation of festival goers. The mix of trad melodies and crunchy guitar works quite nicely against an accented vocal, but it’s when shifting into a higher gear for the instrumental break and final chorus that this single really springs to life. The high octane folk rock brings out the best in the musicians, sharing an intricate jig-tinged melody that purely aims to rouse its audience. The tired sounding Skinny Lister could learn a thing or three from this recording.
With its acoustic backdrop and slow burning arrangement, Lynn Hollyfield’s ‘Blindspot’ calls back to the MOR/country and folk singer songwriters of the 90s, from a time when a lot of under the radar performers were keen to follow in the footsteps of Shawn Colvin and Dayna Manning. This gives the track not only an immediate familiarity, but also a classic sound. Falling somewhere between melodic country and commercial folk, this recording has a strong rootsy feel, allowing a clear narrative to take centre stage. Lynn’s slightly deep tones work well against a light banjo and a clean sounding upright bass, and the themes of longing and loss have a universal appeal. On first listen, the main hook might seem a little simplistic, but rest assured that over time it becomes clear that the song’s strong melody will carry everything very confidently.
There’s something unashamedly retro about songs championing “the radio”. Maybe it’s because people consume music very differently now; maybe it’s merely because the basic concept feels very 80s. Whatever it is, Melbourne’s Desert Fire serve their celebration with an equally old school sound. This track comes with an abundance of chunky sounding garage rock/melodic metal guitars, capturing something that calls back to a pre-grunge time, peppered with a pinch of The Hives. The addition of a brilliantly gritty vocal adds an extra punch, while a few wordless “woo woo’s” stoke up the fun on a track that sounds destined to become part of a celebratory Friday night soundtrack. You’ll have heard it all before in so many ways, but Desert Fire play with a real spirit that ensures ‘R.A.D.I.O’ just pushes all the right buttons – and with ease.
Last up, here’s something epic from If These Trees Could Talk. Ahead of a new album, the much-loved post rockers have shared ‘Blurry Creatures’, a recording that makes it feel as if the band have never been away. Using the intro for a slow build, the track takes a mid tempo approach and wordless vocals to weave something that might encourage audience participation, before settling into something more traditional where layers of guitar weave an almost metallic sound which, underscored by crunching rhythms, taps into a perfect post rock sound. It’s great from the off, but ‘Blurry Creatures’ really comes into its own during a much quieter middle eight where muted guitars throw out vaguely pulsing sounds, and a crisp sounding lead adds a very proggy feel to the 90s sounding vibes. Using the earlier vocal to contrast this, the band are able to serve up something that feels even bigger, before bringing back a heavier riff for a very confident finish. If you’re already a fan, this return will feel very much like something worth celebrating.
May/June 2026