This visit to the popular Singles Bar takes in a few newer names representing the worlds of power pop, alt metal, and alternative sounds. There’s also the return of couple of underground talents, and also a really cool comeback single from a name that made waves back in the 90s. With the usual focus on highlighting tracks destined for a cult crowd and a pleasing variety, we hope you find something new to enjoy…

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A lot has happened in the world of music since Halflives released their ‘Inferno’ EP back in 2024, but they sound better than ever on their current single ‘Unshattered’. Right from the track’s opening bars which blend an early Linkin Park inspired blend of synths and beats, the number sounds truly vibrant, but it’s when hitting the chorus that this performance genuinely springs into life. Adding a tough edged guitar riff – equal parts crunch and melody – the track taps into a rich vein of commercial sounding alt-rock, providing a perfect sound for Linda Battalani to reach full vocal cry. Although the overall sound is effective, it’s likely to be the lyrical hook that leaves an indelible impression this time out: using the title as a lynchpin, the track celebrates emotional strength in a way that fits the sharp arrangement perfectly. A few spins, and you might just be convinced it’s one of the best rock singles of 2026.

Berwick-Upon-Tweed’s The Blame released a selection of enjoyable singles in 2025, and they’ve returned with ‘Just A Little Longer’, one of their best tracks to date. Absolutely loaded with ringing guitars, the track harks back to a lot of classic indie/dream pop fare from the 90s, allowing a world of shimmering sounds to take centre stage, before a more prominent lead guitar fills the peak of the number. It’s in a completely different style to their previous single ‘Cleaned’, which means Jonathan Scott’s slightly maudlin lead vocal doesn’t sit entirely comfortably. Instead of latching onto a feel-good melody, he drops into his signature croon, setting up a contrast that seems a little jarring, but ultimately makes the recording more interesting. With a strong chorus on board and some fine music shared, that should be enough to convince listeners that The Blame are very much a band on the rise.

‘Little Earthquakes’ by Tori Amos is one of the essential albums of the early 90s. A massive fan, singer songwriter Gregory Douglass has taken one of the records finest cuts and reworked it in his own style. The vocal melodies – although slightly lower – retain their sweeping beauty and Gregory’s piano work echoes some of the original’s grandiosity without feeling like a straight copy at all times. This cover really comes into it’s own, however, thanks to the performer’s decision to flesh out parts of the melody with wordless, multi-tracked vocals. Their echoing presence gives the overall performance slightly more of a theatrical quality and sets a great mood in place before light orchestration fills out the track’s climax. Lovers of the original cut should find it interesting to hear such a great song delivered by some different but very capable hands.

Music doesn’t always need to be flashy to stand out, and this is something that’s obviously known to Jack’s Maze, a band who’ve just released a new single some thirty-seven years after forming. ‘Let It Go’ immediately latches on to an old school, radio-friendly sound, driven by an unwavering mid tempo and ringing guitar. Just a few bars in, the music’s almost sunny appeal is evident, as is the band’s general tightness. As things progress, there’s less of optimistic feel, once it becomes clear that the lyric initially concerns someone who’s departed. Listeners shouldn’t find that off putting, however, since the chorus, taken in isolation, becomes a huge celebration of the power of music and how it can transport people back to various points in their life, and more effectively than anything else. That’s something that almost everyone will have experienced. This isn’t a perfect track: although the music has a timeless feel and the simple riff carries everything rather nicely, but a slightly weary vocal mightn’t suit everyone. Nevertheless, there’s enough of a lyrical strength here to make the song work on its own terms.

You might remember Brijitte West as the vocalist with NY Loose back in the 90s. She’s back with a new band, Brijitte West and The Greenowskis, and their current single ‘Doin’ Alright’ is a melodic rocker that mixes hard edged riffs with a new wave-like punch, creating something that should appeal to classic rock and power pop fans alike. West’s no nonsense delivery sits at the heart of the track and her now veteran vocal style adds a pleasing amount of grit, but the real sense of energy and lasting appeal comes from a superb guitar riff and the way the band use a simple chorus line as a repetitive hook. Playing like a throwback to classic Joan Jett & The Blackhearts with a stronger vocal, this is the kind of number that feels pretty timeless.

In terms of riffs, ‘Ned Flannels’ by Voted Most Likely is immediately impressive. By mixing elements of second wave emo (Sunny Day Real Estate, Sense Field) with a hefty dose of post-rock and a pinch of art punk, the track captures something that feels genuinely edgy, style-wise. The drums are especially tight, but the way the sharp rhythm collides with overdriven guitar tones that share an almost equal razor-edged quality creates an atmosphere that’s a cut above most alternative rock sounds of 2026. Even though elements of their sound can be seen as very 90s influenced, the way the band have shaken things up here keeps the performance feeling vibrant. The way they’ve also introduced a vocal with a melodic edge that provides an interesting counterpoint. And although this might make ‘Ned Flannels’ seem like an exercise in style over substance at first, there’s a superb chorus hook here too, introducing harmony vocals, and a shimmering interlude that leans a little further towards indie based sounds. A genuine melting pot of contemporary alternative rock, this is a fantastic track. [Originally released at the beginning of the year, this single is getting a welcome re-promotion as Autumn takes a hold. If you’ve missed it thus far, check it out – along with the Halflives trackit has the potential to be one of the best rock tracks you’ll hear for a while.]

Portland based songwriter Will Hoffman (aka WHFM) sounds great on his current focus track ‘Im Here’. A number of two halves, the song reels in the listener with some strong power pop vibes, blending a jangling guitar line with a light vocal reminiscent of half-forgotten 90s bands like Neve, sharing a very natural gift for a melody. Then, shifting gears into something a tiny bit spikier, influences from Adam Schlesinger (RIP) and Jaret Reddick creep in, adding a more buoyant quality. There are lots of elements from this recording that will feel familiar, but that actually adds to the all round appeal. Whichever way you approach it, this track is a great showcase for the artist.

A new name for 2026, Mardy’s debut single ‘IDK’ is a brilliantly cheeky number that appears to pull in different directions. There are fuzzy sounding guitars that tap into a slightly lo-fi sound battling against bright lead vocals. The rhythm track delivers a homespun flatness, which seems at odds with the presence of buoyant melodies and wonderfully layered harmonies. Yet, somehow this works, and Lily’s lead vocals, in particular, share a wonderful sense of the melodic, helping to steer the track in a surprisingly commercial direction. In presenting a slice of indie infused agit-pop that has a sugary appeal that hits from first listen, this is hopefully a first taste of more great things to come.

September 2026