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.
Lurching between menace, absurdity, and slapstick with cinematic precision, ‘Chow Mein’ turns social awkwardness into darkly comic Americana. A drunken night outside a club becomes a miniature disaster movie, populated by bouncers, tailored suits, and a narrator desperately trying to appear normal. Caroline Rose’s idiosyncratic storytelling makes the chaos feel both ridiculous and painfully human. The track’s humour masks an undercurrent of alienation, while its skewed perspective fits neatly into the surreal suburban mythology of Gentling the Horse at the Walt Whitman Mall.
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Tom A. Smith expands his sonic universe with the Deluxe Edition of Put On A Record Tommy, anchored by the fiery new single ‘Am I Ever Gonna Be A Rockstar?’. Balancing self-doubt with explosive indie-rock hooks, the self-produced track proves Tom is carving out his own lane rather than playing to comparisons. The three-track release delivers an expanded, dancefloor-ready edit of the title track alongside a sharp cover of Talking Heads’ ‘Life During Wartime’. Blending theatrical energy, sharp hooks and vulnerability, this deluxe release confirms Tom A. Smith is one of the UK’s most fearless young talents.
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‘Weak At The Knees’ is a warm, windswept folk-pop love song that captures the romance of the British coastline with remarkable charm. Written by Essy Sparrow to celebrate her long-term relationship, the track feels deeply personal without losing its universal appeal. Gentle melodies, heartfelt lyrics and subtle seaside field recordings (including waves and distant seagulls) create an atmosphere that is both intimate and cinematic. Essy’s gift for whimsical storytelling shines throughout, balancing sweetness with a touch of nostalgia. Like a sunlit voyage across calm waters, ‘Weak At The Knees’ radiates sincerity, offering a beautifully crafted reflection on enduring love, home and belonging.
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KYTES make vulnerability feel exhilarating on ‘Believing’, which blends indie-rock muscle with the pulse of dance-pop. Synth-driven verses and electronic beats steadily build tension before exploding into a soaring, guitar-heavy chorus that feels tailor-made for festival crowds. Beneath the infectious energy, the song carries a more fragile emotional core, capturing the uncertainty of holding onto something when everything seems ready to collapse. That contrast gives ‘Believing’ is simultaneously reflective and euphoric, intimate and expansive. With its big hooks, driving rhythm and rave-inflected production, KYTES turn doubt into momentum.
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Vancouver art-rocker Art d’Ecco makes a ferocious return with ‘The Death of Indie’, a towering seven-minute manifesto previewing his fifth album, Scheele’s Green. Channeling Miles Davis-inspired jazz experimentation alongside post-punk grit, the track transforms societal disorientation and tech-dystopian malaise into a contorted, thrilling call to arms. Backed by a tight ensemble of jazz aficionados, Art d’Ecco acts as an indie-rock Cassandra howling against modern absurdities. Coupled with a darkly satirical video dissecting billionaire hubris, ‘The Death of Indie’ is a fearless, sprawling reckoning that proves Art d’Ecco remains one of art-rock’s most uncompromising and captivating visionary figures.
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Pairing deep, understated vocals with spacious production and dreamlike textures, ‘Falling’ drifts through a beautifully melancholic landscape. Rather than leaning into outright sadness, Marmur’s track captures the strange calm that arrives when resistance finally gives way to release. Its hazy blend of indie pop, synth-pop, chillwave and electronic elements creates an immersive atmosphere, with every layer reinforcing the song’s sense of weightlessness and quiet transformation. There is something cinematic in Marmur’s approach, as fading memories and shifting perspectives seem to float through the arrangement. ‘Falling’ is a gentle soundtrack for letting go and discovering freedom.
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Melbourne’s 23-year-old pop powerhouse LANA officially leaps into her “pop-funk baddie era” with the scorching single ‘OBSESSED WITH YOURSELF’. Backed by her stellar girl band, the Australian LGBTQ+ artist trades bedroom-pop overthinking for a punchy, vitriol-laced anthem that hits with immediate bounce. Fusing alt-pop hooks with raw garage-rock energy, the track takes aim at superficial vanity with razor-sharp lyrics like “material girls don’t get everything they wanna!” Full of unhinged charisma, infectious drive, and fearless personality, ‘OBSESSED WITH YOURSELF’ is a delightfully chaotic, high-octane riot that proves LANA is one of indie-pop’s most magnetic rising talents.
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Stockholm singer-songwriter and producer Björn Öqvist returns under his solo moniker Bjorn with ‘Getting Through’. which acts as a beacon of hope leading into his fourth album. Blending warm soft-rock, folktronica textures and big, energetic beats, the single serves as a compassionate anthem for young people navigating mental health struggles in an increasingly chaotic world. Driven by uplifting melodies and epic, stadium-sized production, Bjorn balances emotional depth with pure, cathartic joy. ‘Getting Through’ is typical of Bjorn’s signature talent for heartfelt, purposeful storytelling.
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EFE’s newest single ‘Show Me’ turns vulnerability into a breezy, guitar-driven anthem built for open roads and windows-down listening. Its three-minute runtime keeps the song direct and immediate, while layered guitars and propulsive drums give Simon Choquette’s intimate songwriting a satisfying alternative-rock lift. There’s a refreshing naivety to the track’s invitation, balancing romantic uncertainty with an unmistakable sense of hope. Drawing from ’90s alt-rock, shoegaze, Britpop and grunge, EFE creates a sound that feels both nostalgic and distinctly personal. ‘Show Me’ is candid without being overly earnest, delivering a melodic, energetic snapshot of an artist finding his voice.
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PURPLE MELON 