Our Indie Kids playlist celebrates everything on the indie spectrum, whether that’s rock, folk or pop, because we firmly believe in taking a little walk off the beaten track every once in a while.
Charlotte Sands cements her alt-pop status with ‘Afterlife’, a deeply emotional anthem that pulses with euphoria and undeniable power. Following the success of ‘HUSH’, this new single explores love in its most eternal form, a connection so deep it transcends timelines and lifetimes. The track is built on soaring hooks and electrified, pristine production, creating a sound that is both haunting and uplifting. Charlotte masterfully pairs this intensity with a radical honesty that turns vulnerability into a stadium-ready, singalong experience. It’s a compelling statement for anyone who believes in the infinite pull of a soulmate connection. This is a must-listen for alt-pop fans.
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Most Personal’s self-titled debut single is a volatile, glitter-drenched explosion that births a new genre: “gremlin-pop”. Co-produced by Louie Diller of HOLYCHILD fame, the track thrashes between hyperpop exuberance and dark self-awareness, a sonic tug-of-war between confession and performance. Its lyrics, like “If the end of desire, is the end of suffering, I’ll always suffer”, drip with menace beneath glossy production, embodying the duo’s critique of vulnerability as both currency and curse. Lainey Gonzales and Jesús Acosta weaponize joy and jealousy alike, crafting a chaotic manifesto for the modern artist. Here, fame and meaning are indistinguishable, and that’s the point.
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‘I Won’t Waste Your Time’ feels like a heartfelt time capsule sealed with both grit and gratitude from rising UK band Pentire. Frontman Jack Morgan pens a letter to his younger self, reflecting on the growing pains of chasing dreams within the music industry. The track’s soaring guitars and earnest vocals capture the exhilaration of youth, while its introspective core wrestles with pressure, purpose, and perseverance. True to Pentire’s anthemic indie-pop roots, it balances nostalgia with forward motion. It’s equal parts reflection and rally cry. Following a string of festival appearances and critical acclaim, this single cements Pentire as a band unafraid to grow publicly, beautifully.
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Moesgen continues to write for the in-between moments with the beautifully intimate single ‘Take Me Home’. Marrying the emotional textures of alt-pop, indie, and R&B, the track is a raw page from their journal, detailing the ache of loneliness and the yearning to belong. The production is spacious, letting Moesgen’s soft vocal delivery, hovering between a whisper and a plea, truly shine. It’s a confession in melody. It’s a song built on memory and radical honesty. ‘Take Me Home’ feels like a fully-formed story, offering a compelling blend of finding yourself and coming undone. It’s essential listening for those who feel too much.
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Blending her signature folk tenderness with poetic alt-pop textures, the Dutch-Surinamese artist néomí turns self-doubt into solace, whispering reassurance even as uncertainty lingers. ‘Sit Back Baby’ is an intimate meditation on surrender, resilience, and the quiet art of letting go. Her soft yet unflinching voice floats over delicate production, grounding the song’s emotional weight in grace rather than despair. ‘Sit Back Baby’ captures the paradox of acceptance: that nothing is ever truly fine, and that’s what makes it okay. As a final preview of her forthcoming EP, Another Year Will Pass, it’s both an elegy and an embrace, one that’s achingly human.
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Brighton duo CATBEAR return with ‘It’s Okay’, a soaring, synth-driven anthem of self-acceptance and queer visibility. Inspired by conversations on identity and belonging in later life, the track builds brilliantly from quiet reflection into euphoric, defiant choruses. Producer Zoe Konez builds a pulsing soundscape of vibrant synths and driving beats, perfectly complimenting the ethereal vocals that affirm resilience: “no more fake smiles, no more compromise.” Rejecting the need to prove oneself, the single serves as a powerful reminder to take up space and thrive. It places CATBEAR alongside synth-pop voices like Robyn and MUNA as an uplifting, essential statement.
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Where longing and self-erasure intertwine in devastating harmony, you’ll find Mary Middlefield’s slow-burning confession ‘The Feast’. Her delicate and commanding performance floats over cinematic strings and haunting production, tracing the ache of wanting to be chosen by someone incapable of giving back. The song’s beauty lies in its restraint: each lyric feels like a quiet offering, each swell of sound a surrender. Co-written with Arnaud Paolini and produced by Gwen Buord, ‘The Feast’ transforms heartbreak into reverence, evoking candlelit chapels and emotional purgatory alike. It’s romantic, tragic, and wholly consuming. Here’s further proof that Mary Middlefield’s star continues to rise with breathtaking poise.
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Written, produced, and performed entirely by Jake Huffman, ‘The Endofme’ is a deeply personal and creatively risky finale to his latest EP. The track pulls inspiration from intense ocular migraines and terrifying lucid dreams. It’s a sonic journal entry, translating the actual textures and confused emotional state of being between sleep and waking into music. Jake makes daring structural choices, resulting in a song that feels distinct from his rock roots. Fans of experimental alt-pop like Djo and SYML will appreciate its moody, atmospheric honesty. ‘The Endofme’ is a powerful, self-contained world of sound, capturing vulnerability with striking musicality.
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Anchored by driving guitars and an irresistibly punchy rhythm, ‘Waited All Night’ captures the emotional release of cutting ties with someone who’s strung you along. It’s a caffeine-fueled burst of frustration and freedom, the sound of The Bankes Brothers band hitting their stride with swagger and heart. Produced by Gus van Go and co-produced by Steve Bays, it blends raw urgency with polished precision, balancing rock’n’roll grit and indie-pop shine. Nelson Bankes’ vocals brim with conviction, making every lyric hit with cathartic clarity. It’s bold, addictive, and tailor-made for sweaty, late-night singalongs.
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‘Over You’ is a profound indie-rock meditation on loss, written after the passing of a loved one. Jane’s Party’s track beautifully captures the emotional turmoil of grief while finding comfort in the thought of a loved one watching over them. The verses express the raw pain of processing the loss, while the choruses become the mother’s comforting voice. Musically, the song strikes a unique balance between melancholy and a surprisingly surf-laden groove, encouraging listeners to dance through tough times. It climaxes with an epic, emotionally charged guitar solo that highlights the singer’s deep feeling, making ‘Over You’ a powerful, layered expression of enduring love and human connection.
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PURPLE MELON 