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.
UK artist Niki Kini transforms personal turbulence into a high-energy anthem with ‘God’s Hitlist’. The track pivots between opposing feelings of sadness and happiness by blending gritty realities like job loss and burnout with vibrant, nostalgic ’80s production. Niki’s wit shines through lyrics like “Wednesday’s the day I got laid… off,” capturing the absurdity of early adulthood. As the final single from her upcoming EP Sugar & Spice, it perfectly represents the resilience required of a South Asian woman navigating a chaotic industry. It’s a cathartic, danceable meltdown that proves if you can’t beat the chaos, you might as well out-dance it.
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‘Stranger to Me’ is a tender, slow-burning alt-pop confessional that turns self-doubt into something luminous. The Colorado-born singer-songwriter Jaidyn Hurst pairs featherlight piano and muted percussion with her clear, slightly hushed vocals, creating an intimacy that feels almost whispered into the listener’s ear. She explores distance within a relationship, the ache of loving someone who suddenly feels unknown. The chorus swells gently, never bombastic, trusting emotion over spectacle. It’s a mature, carefully crafted performance that showcases her knack for melody and vulnerability, marking another standout step in a promising young career. Add it to late-night playlists immediately without hesitation.
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Daniel Arison kicks off 2026 with ‘wouldn’t change a thing’, a poignant alt-pop anthem that finds grace in life’s friction. Moving beyond his 2.5 million Spotify streams, Daniel leans into his most vulnerable songwriting yet, reframing personal hardships as essential architects of the self. The track pairs warm, atmospheric production with a universal message of acceptance. By stripping away regret, this artist highlights the shared human experience of resilience, regardless of background. It’s a sophisticated and introspective ode to the past that solidifies his status as a rising indie force. In Daniel Arison’s world, he embraces all those imperfections.
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Tamara Lee arrives with quiet confidence on ‘Touch and Go’, a debut that favors nuance over noise. Sparse keys, hushed electronics, and gently pulsing percussion frame her intimate vocal, which carries both ache and resolve. Drawing on her Hong Kong roots and Milton Keynes present, the singer-songwriter turns generational trauma and conditional love into poetry, tracing the push-pull of attachment with startling clarity. From the gentle chorus, that restraint becomes the hook, inviting repeated listens. It’s a mature, atmospheric introduction that signals a distinctive voice and a promising, emotionally intelligent future for years to come.
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Following the success of 2025’s ‘Shadow Love’, Boorloo/Perth-based artist Jess Cullity delivers a handful of romantic optimism with her latest single ‘Fall In Love Again’. This track marks a cinematic leap forward with Jess’ polished pop production which evokes the sun-drenched, main character energy of a coming-of-age soundtrack. Against a lush blend of shimmering textures, sweeping strings, and driving percussion, Jess explores the brave vulnerability of reopening one’s heart, trading past heartaches for the risk of new connection. With a soaring final chorus that showcases her emotive range, it’s an expansive, hopeful anthem for anyone ready to dream again.
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Marie Fjeldsted opens a new era with ‘Like I Was Never Mine’, a warm yet piercing indie-pop meditation on identity and erosion. Cinematic guitars and slow-building drums create a spacious backdrop, allowing her tender, commanding voice to carry every emotional tremor. The lyrics blur personal crisis with ecological unease, hinting at both a fractured self and a wounded planet. That duality gives the track quiet urgency without sacrificing intimacy. Following her earlier work, Marie Fjeldsted proves vulnerability remains her greatest strength, transforming fragility into something resilient, resonant, and quietly unforgettable.
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Rosie Meyer revs the engine with ‘Beyond’, a high-octane “Bonnie leaving Clyde” anthem. Recorded with a live band, the track masterfully navigates the intersection of The Japanese House’s atmospheric indie-pop and Sabrina Carpenter’s cheeky, hook-driven sensibility. The production is a nostalgic road trip through sound, blending shimmering ’80s synths and guitars with a distinct country-inflected melodic twang. Rosie’s sharp storytelling transforms a breakup into a playful liberation, anchored by a massive pop hook that feels destined for highway singalongs. It’s a polished, spirited rebirth that firmly establishes Rosie Meyer’s renewed sonic direction.
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‘WHO NEEDS WHO’ is a sleek, self-produced pop anthem that confronts the fallout of a toxic situationship with clarity and bite. Punchy beats and glossy synths drive the track forward, while Brian Walker’s smooth vocals balance vulnerability with defiance. The chorus lands like a mantra, transforming doubt into self-worth and heartbreak into empowerment. As the final chapter in a video trilogy following ‘When I Start to Care’ and ‘I Like This Me Better’, it feels cinematic and intentional. With its infectious hooks and emotional honesty, the single teases bigger ambitions for the upcoming album PASSIO, positioning Brian Walker as a compelling new pop storyteller.
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Built around the haunting refrain “you were my oxygen”, OXFLOYD’s new track ‘Oxygen’ frames lost love as suffocation, pairing distorted textures and urgent percussion with a vocal delivery that feels confessional and close-mic’d. By stripping things back to raw nerve, this track is a brooding alternative cut that treats heartbreak like withdrawal. The production, courtesy of Brent Kolatalo, balances grit and melody, letting tension simmer without over-polishing the pain. It’s stark but addictive, turning emotional dependency into something cinematic. With its intensity and honesty, ‘Oxygen’ solidifies OXFLOYD as a compelling, vulnerable voice rising fast in the alternative underground scene.
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‘Sleep’ is a haunting, beautiful and eerie exploration of the battle with insomnia from singer-songwriter Mitch Wilson. Produced by Justin Able, the track is anchored by a hypnotic, Bach-inspired bass line that mimics a binaural beat, pulling the listener into an Alice in Wonderland-esque trance. Mitch’s vocal delivery cuts through the moody, dark-pop atmosphere. While the theme is restless, the execution is seamless, sitting comfortably between the experimental textures of The Japanese House and the melodic depth of The Band Camino. It’s highbrow indie-pop that manages to be both unsettling and deeply cathartic. A must-add for any late-night alt-pop playlist.
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PURPLE MELON 