In the ancient world, purple was originally the colour reserved for the imperial families of Rome, Persia and Egypt and while it’s no longer elitist, there’s still something special to be had to the red-meets-blue hue. Our Purple Pop selection showcases the most luxurious, beautiful and unmissable pop music finds for our ears to yours.
As the focus track of Jordi’s self-titled debut, ‘Time Zones; perfectly encapsulates this artist’s rise from viral sensation to a formidable pop force. The song navigates the “emotional push and pull” of long-distance longing, balancing her unapologetically catchy pop sensibilities with the raw vulnerability that first won over millions. Jordi’s background in dance and theater is evident in the track’s rhythmic confidence. Her vocals are powerful yet intimate, reflecting the growth of an artist who spent years honing her craft in private. It’s a standout moment on a 12-track record.
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‘Ansiedad’ marks a luminous step forward for Penelope Robin, transforming a classic Cuban bolero into a sleek, contemporary confession. Co-written with C-Rod and Andrés Cabas, the production balances vintage guitar flourishes and soft percussion with polished pop textures, letting her voice carry the emotional weight. Penelope sings with restraint and vulnerability, tracing the ache of loving something so deeply it hurts to hold. The result feels intimate yet cinematic, personal yet universal. It’s a slow burn that lingers, proving she can honor tradition while carving her own lane in Latin pop with poise and promise for years ahead to come.
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In ‘When We Were Fools’, Karim Panzetta masterfully captures the kinetic energy of youth and the magnetic pull of the unknown. Eschewing the safety of routine, the track serves as an anthem for the restless, blending pop sensibilities with an atmospheric EDM pulse. Panzetta’s production mirrors the lyrical journey of choosing movement over comfort. It feels like a high-speed drive toward a horizon you haven’t mapped out yet. While his follow-up, ‘Don’t Tell Your Friends’, dives into the secrets of intimacy, ‘When We Were Fools’ focuses on the raw, reckless pursuit of freedom. It’s a polished, evocative snapshot of an artist who isn’t just finding his sound, but defining his own momentum.
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Charismatic Japanese singer-songwriter Ako turns expectation into voltage on ‘Turn It Up’, a bilingual closer that doubles as the ending theme for The Darwin Incident. Her trademark whisper voice threads through jazz basslines, brittle rock guitars, and glossy pop hooks, creating a restless, genre-melting pulse. Mixed by Nathan Boddy, the track feels intimate yet widescreen, shifting from hushed confession to defiant chorus with cinematic precision. Writing from the antagonist’s perspective, Ako questions morality and meaning, lending the song unusual narrative depth. It’s catchy without compromise, thoughtful without heaviness. Here’s proof that Ako’s adventurous pop can hit hard when you turn it up.
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‘Flor de Loto’ finds Jhosy stepping confidently into the Latin pop spotlight with a debut that feels both tender and spiritually grounded. Blending smooth melodies with subtle urban textures, the track floats on warm production while his voice carries a gentle, lovestruck sincerity. Jhosy frames love as devotion rather than possession, using the lotus as a symbol of beauty born from struggle and growth. That metaphor gives the song emotional depth, elevating it beyond a simple romance. The hook lands softly but lingers, intimate and heartfelt. It’s a promising introduction, showcasing authenticity, restraint, and a storyteller unafraid to wear his heart openly.
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Drawing from his roots in Scottsdale and Brussels, Henry Thompson bypasses the shallow tropes of bubblegum-pop music to offer something far more substantial. Defying his young years with a masterful emotional resilience, ‘Let Go’ is a steadfast anthem of devotion, serving as a lyrical vow to stay anchored even when life gets turbulent. Sonically, it sits in a sophisticated sweet spot between country-pop and folk-pop, showcasing a genre-blurring maturity. Henry Thompson’s songwriting is the star here, one that’s earnest, grounded and rich with substance. It’s a compelling listen for anyone craving pop with a heartbeat.
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‘Taxi Cab’ glides in like warm streetlights on wet pavement, a chill indie-pop love song that thrives on restraint. Limón Limón blend soft reggae lilt with sun-faded guitars, pillowy synths, and a lazy, late-night groove, creating a track that feels both nostalgic and quietly modern. The lyrical hook, “you and me, sitting in the back seat, riding in a taxi cab,” captures romance in miniature, intimate and unforced. Jason’s mellow vocals float above Rand’s vintage-digital textures, giving the song an easy west coast glow. Breezy and sincere, it’s tailor-made for twilight drives and feel-good playlists, effortlessly smooth without ever fading into the background.
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Emma Teufel makes a hauntingly beautiful return with ‘Dive In’, a track that skillfully navigates the intersection of indie and pop. From the opening imagery of a bare bed and faded summer memories, Emma captures the visceral sting of absence. The production is atmospheric and immersive, mirroring the deep diving title. Throughout the track, she balances a desperate plea for reconciliation with a raw vulnerability in the bridge. It is a sophisticated anthem for the heartbroken, blending melancholic nostalgia with a shimmering hope that only a voice this powerful can deliver.
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On ’12 Days’, MDWS distills the quiet aftermath of heartbreak into something tender and hypnotic. The production is restrained yet immersive, with muted beats, soft synth washes and negative space that lets every breath land with weight. Callum Meadows’ sultry, haunted vocals drift through late-night details which captures the strange coexistence of grief and gradual healing. There’s a subtle dance-pop pulse beneath the melancholy, giving the track forward motion without breaking its intimacy. Influenced by the emotional candor of James Blake and Frank Ocean, ’12 Days’ feels personal and universal at once, a soft-glow anthem for anyone learning to let go.
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North East quintet Lost Lot crafts a tender country-folk lullaby that expands into a widescreen celebration of discovery. Written for frontman Matt Dunbar’s nephew, ‘Noah’ trades their usual rock-tinged intensity for a grounded, acoustic intimacy. The band’s signature five-part harmonies provide a rich, choral warmth, elevating the song from a simple tribute to a profound reflection on childhood wonder. Drawing on the storytelling depth of Jason Isbell and the atmospheric textures of Wilco, ‘Noah’ captures the exact moment a child’s world begins to bloom. It is a stirring, soulful reminder of the endless possibilities that lie ahead.
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PURPLE MELON 