Welcome back to the Real Gone Singles Bar, the place where we explore some of the more interesting tracks that have landed in our inbox over the past few weeks. This time around, we bring you a couple of superb singer songwriters, an interesting remix, an unmissable slab of alternative metal, a jaunty country number and more besides. As always, we hope you find something new to enjoy.
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Laura Silverstone has already released some wonderful singles, but ‘September’ is arguably her best recording to date. The core of the number revisits the artist’s fondness for finger-picked acoustic melodies, but branches out with a full band arrangement that offers a strong melodic influence from a folk rock tradition. There are similarities with the earlier ‘Fireworks’, but the softer tone, and the use of strings and harmony vocals adds a richness that even more pleasing. By allowing her voice to glide over a world of lightly brushed drums and warm basslines, the musical world Laura inhabits here feels so natural. With a lilting melody and a lyric sharing the ache that comes from struggling with a long distance relationship, ‘September’ is a recording that really tugs at the heartstrings.
Bringing together busy acoustic guitar lines and sweeping strings, ‘I’m On Fire’ by Ryan Kershaw wastes no time in setting a grand sound in place. The addition of extra drones that sound like the work of subtle electric guitar textures further accent a great sound which compliments a natural vocal. Over a great arrangement, Ryan delivers a slightly dark and personal lyric concerning the person who “will never learn” and points out there’s “only so much I can do” before coming to the conclusion that he’ll “just let it burn”. It’s all rather pointed, but a great musical arrangement helps the desperation feel more palatable. Then, at the point where you think the performance has reached its peak, Ryan introduces a wall of harmonies for a final round of a great chorus to really hit home the emotive qualities within the overall melody. This is the kind of track that should make people keen to hear more from this still underground talent.
In terms of interesting re-imaginings, a new Martyrs remix of ‘As We Once Were’ by The Anchoress scores pretty highly. The cult indie rock band have taken the synth-heavy cut and reworked it from the ground up. The melody sounds great when centred around a bass groove, and a glitch oriented rhythm accentuates the edgy qualities. In keeping with Martyrs’ own work – worth checking out – a soaring guitar also brings a slightly rockier feel to the piece, but without destroying a familiar melody. Front and centre, naturally, The Anchoress is still present, with her vocal providing a strong reminder of a new work that’s big on heart and sometimes even bigger on wonderful adult pop atmospheres.
It feels like a long while since the world heard from Sicky, but the UK-based one-man project has returned with ‘Bubblegum Party’, a track that’s already been described as “fizzy and infectious”. It’s one of those recordings that, on first listen, feels a little scrappy and unfinished. Its demo quality recording appears a little cheap, if not rushed. However, time spent will uncover a homespun track that revels in its slightly trashy aesthetic; the repetitious rhythm sets a groove in place that works for the stylistically lax vocal, but more importantly, Sicky delivers a simple hook which, whether you expect it to or not, will get under your skin in a way that’ll make you overlook any of the potential musical shortcomings. Those who latched onto some of Sicky’s past works will almost certainly find some appeal here.
Not to be confused with the same-named artist who released the excellent ‘Sunshine On A Rainy Day’ (produced by the legendary Steve Hillage) back in the 90s, singer songwriter Zoe released an enjoyable pop-rock album, ‘Honest’, back in August 2026. Now being touted as a focus track, the title cut provides a perfect preview for the full length record. The song takes a waltzing time signature and acoustic heart to create something simple yet heartfelt. Building up from that, a warm bass brings depth, while a few very 70s inspired keys lend an occasional jazz influenced flair. Much like the parent album itself, this track refuses to be beholden to a single genre. There’s a strong adult pop core, but also a dream pop-ish haziness, and even a slightly rootsy feel within the acoustic melody. It’s all a perfect fit for a confident vocal which straddles the worlds of pop and light R&B with ease.
Mixing elements of rap, hardcore and groove metal with a political bite, Throwlight are in incendiary form on ‘Welcome To America’. Lyrically, the track attacks a country who are putting kids in cages, forgetting a nation built upon immigration, and taking guns to “show and tell” at a time when mass shootings seem as commonplace as visits to a grocery store. There’s also an allusion to there being more at stake than “fake news”. The US is at war with itself, and Throwlight are justifiably angry. With elements of early Hed(pe) meeting with downset., and the groove of ‘Cowboys’ era Pantera brought up to scratch to challenge the weightier sounds of Deftones, coupled with the socially aware bite of Rage Against The Machine, this is a melting pot of anger that’s not to be missed.
As a tribute to the late Guy Bailey, his band Thirsty’s work has been reworked with new vocals from ex-bandmate, Quireboys legend Spike. The resultant album ‘God Bless America’, credited to Thirsty Quireboys, stands as a loving testament to a great talent. The current focus track, ‘10, 7 Or Possibly 6’, captures that classic Quireboys unity between Spike and Guy brilliantly; grubby sounding guitars set a retro tone in place, huge sounding drums create a live in the studio feel, and a brooding, bluesy groove captures a late night swagger. The slow yet confident tempo is the perfect foil for Spike, since it gives his signature rasp plenty of room, and during the later part of the track, the way he weaves that in and out of some very fiery lead work from Bailey sets something rather exciting in place. For the long term fans, this is definitely a treat.
Last up, here’s a track that’s being re-promoted. Originally appearing online back in 2023, ‘Tennessee Hills’ by Mark Henes is an energy-driven country romp that’s incredibly well produced. From the moment the barrage of acoustic guitars and fiddles hit their stride, Henes delivers a crisp performance that sounds rather expensive. Although the vaguely jig-oriented music dominates and an underscoring of banjo really lifts everything before a perfectly executed lead guitar break offers an obvious highlight, his vocal also maintains a very strong presence. It’s quickly evident that his slightly twangy delivery taps into an old school sound that’s perfect for the job in hand. Lyrically, he takes his audience “down the road” to the “only place” he knows, before offering “a sip of blueberry wine”, creating something that feels rather parochial and likely to bring the country-averse out in a rash, but for lovers of this busy style and a homegrown lyric, it’s the kind of track that’ll definitely hit the spot.
September/October 2026
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