The Real Gone Singles Bar has always championed emerging talents, but in terms of doing so, this week’s column goes an extra mile, casting a spotlight on a couple of Scottish singer songwriters, a fantastic new track from a fantastic Irish performer and a US singer going against geographical location. For those who came to hear a couple of newer rock singles, we’ve got those too: one from a familiar name continuing their run of great releases, and one from a new band we hope will be big in 2027. As always, we hope you find something new to enjoy.

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Singer songwriter Jaz Brannan aims for something rather grand with his current single ‘Coming Home’. Opening with sweeping piano and strings, it’s a track that makes little secret of its “adult” appeal, and even Jaz’s slightly rougher vocal style never derails the huge melody that’s set in place. Things start to sound even better once the rest of the band arrives: a solid bass anchors a waltzing time signature; a subtle guitar wavers between commercial indie rock sounds and unexpectedly bluesy leads, and a lilting drum part is wholly sympathetic to the song’s very emotive feel. Backed by a pleasingly full arrangement, Jaz’s voice gradually sounds more assured as the track moves forward, and his sentimental lyric is equally lovely. This is a great single – and what might be, for many, a decent introduction to a rising talent.

Irish singer songwriter Lorraine Nash goes deeply into a world of Americana on her new single ‘Whatever This May Be’. Opening with strong acoustic guitar lines and some great mandolin work, it makes no secret of its roots, blending strong country vibes with a folky undertone. This proves to be perfect for a pleasingly “twangy” vocal delivering a personal lyric, while bridge sections powered by sizeable fiddle riffs feed further into the Americana influence. This really springs into life on a fuller, much warmer sounding chorus where the bass rises and Lorraine allows her already confident voice a little more room while venturing a little further into a classic country sound. This won’t be for everyone, but there’s a lot here for country fans to get their ears around.

…And going against the country heart of their native Nashville, Mel Denisse delivers some fine alt-pop on the brilliant ‘hunted’. From the outset, an echoing guitar tone promises something of great interest, then the arrival of a programmed drum loop builds upon a very atmospheric melody. Mel’s floaty vocal style, perfect for a performance that blends strong dream pop influences into a light tone, weaves in and out of the beats with ease, and within a minute, the arrangement becomes very alluring. Older listeners will certainly hear the ghosts of peak Dubstar here, and that alone makes this an essential listen.

Following their very strong ‘Judgement Day’ single, Swedish goth/alt-rock band Then Comes Silence have returned with the equally cool ‘Remaker Redeemer’. Built upon a very mechanical rhythm, this is a track that draws heavily from 80s goth, blending colder sounds with crooned vocals and overdriven guitars to share something lovingly retro. The pulse and tempo of the performance pulls in the listener with immediate effect, and that becomes so striking that it really doesn’t matter that the chorus isn’t necessarily one of the band’s finest. In terms of recreating something with a danceable element and the spirit of alternative club nights from the past, this is still massively effective.

He’s not a household name yet, but singer songwriter Pat Hamilton has performed support shows for Maroon 5 and has been gaining a solid internet following. His current single ‘Colorado’ is a strong indicator of his emerging talent, sharing some unflinchingly personal lyrics against a very accessible arrangement. Although driven by hard edged acoustic strums and a slightly accented vocal, the track also has an atmospheric edge thanks to the presence of a sparse piano and an almost ghost-like steel guitar colouring some great melodies. It might seem odd that a lad from Scotland would feel such an affinity for Colorado and for lightly tinged Americana influences, but this is a heartfelt performance that telegraphs some superb songwriting skills.

Despite sharing some heavier edges, ‘Inner Void’, the current single from alternative metal band Brightshade, is a number that’s loaded with melody and quite big on atmosphere. The opening guitar riffs, sharing a cold edge, lean towards a goth and shoegaze tone, but the band quickly turns everything on its head with the help of a dense, metallic riff and throbbing bass line that share a far bigger musical muscle. Contrasting the heaviness with a clean vocal, the track has a faint echo of slower numbers by the legendary Deftones, but the results are far from a straight copy. A funkier bass groove peaks through in a way that makes the tried and tested sound feel a little more distinctive, while a concession to a huge sounding chorus gives everything more of a commercial appeal, without the music ever becoming deliberately commercial… This is the sound of a band with serious potential, and a name to watch for as 2026 gradually gives way to 2027.

Following ‘Hate Me Now’, Irish singer songwriter Sadhbh Keane returns with the more sedate ‘Signals’. Opening with distant acoustic sounds, Sadhbh allows her aching voice to take centre stage at first, making no secret of this track’s more laid back feel, then by moving into a waltzing rhythm, she allows the music to guide more of a vocal cry. At this point, ‘Signals’ becomes the kind of heartfelt performance that’ll win over audiences, even though the vocal will actually become even more emotive as things move on. The voice is the biggest draw here, since the singer shares a huge performance that’s unafraid of sharing emotion, but the use of slightly distorted guitar chops – inviting unexpected comparisons with Neil Young circa ‘Sleeps With Angels’ – bring an almost cinematic feel to the track that will leave almost as much of a lasting impression. ‘Hate Me Now’ suggested that Sadhbh Keane would be a talent to watch out for; this track more than confirms it.

Last up, here’s a track getting re-promoted. ‘Harry’ by RiotWeekend was originally released in 2025, but deserves to reach new ears. The guitar driven track blends like alt-rock with a pop punk aesthetic, immediately calling to mind ‘Riot!’ era Paramore, but it’s by no means slavish retread of that sound. It has a similarly commercial edge but also fuses the sweeter elements with an old school twin lead guitar, and also offsets the lighter pop punk moments with some chunky alt-rock which occasionally gives the band a much bigger muscle. It’s pretty much flawless on a musical level, but the vocals are even better. Throughout the number, Holly Nunn adopts a very confident tone, bringing a very radio friendly quality to the band’s already accessible sound, laying down some great melodies throughout, allowing a full cry to fill the biggest moments. If you’ve missed this so far, you owe it to yourself to catch up – you won’t be sorry.

September 2026