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.
Aimée Fatale’s music inhabits a world caught between longing and belonging, where timeless heartache is rendered in vivid, technicolour detail. On ‘Summertime Ain’t Easy’, she turns the fear of missing out into a deceptively buoyant summer song, pairing gilded vocals and rolling drums with lyrics steeped in melancholy. Produced by Rich Cooper, the track channels The Beach Boys while carrying a distinctly northern sensibility. Fatale’s Hull roots, love of kitchen-sink drama and teenage bedroom recordings all inform an artist who makes small-town isolation feel emotionally immense.
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Nicole Atkins transforms personal isolation into grand sonic theatre on ‘Trippin’ on Teardrops’, the captivating opener for her album Drama. Co-written with Peter Bjorn and John’s Peter Morén, the track turns insomnia-fueled burnout and deep vulnerability into an irresistible, cinematic cry for help. Nicole’s soaring, soulful vocals balance raw honesty with classic pop craftsmanship. Accompanied by a brilliantly melancholic video filmed in a historic Jersey estate, where lavish surroundings contrast with eerie taxidermy company, the single showcases Nicole Atkins at her most relatable and visually striking, proving that profound loneliness can be reframed into pure, triumphant art.
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On ‘Parade’, henry o henry turns displacement into something quietly hypnotic. Smokey vocals drift over bendy bass and earthy acoustic guitar, creating a hazy sense of motion that somehow feels suspended in place. The songwriter states that “It’s like lying completely still in the grass but there’s always a circus in town,” and the song captures that contradiction beautifully. There’s a lived-in intimacy here, as if decades of migration, memory and observation have settled into every chord. Unhurried yet emotionally vivid, ‘Parade’ hints at the depth of Apocrypha, a debut shaped less by musical convention than by a lifetime of listening, wandering and wondering.
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‘CU’ is the captivating, avant-garde single from one-of-a-kind artist Willoh’s forthcoming BUCK EP. The Missouri-based 19-year-old masterfully channels the dizzying limbo between youth and adulthood, opening with delicate guitar picking that dissolves into hypnotic, lo-fi beats. Balancing silky, trance-like transitions with sharp production dissonance, the self-produced track mirrors the friction of holding onto past pain while stepping forward. A glitch-heavy breakdown delivers a stunning jolt to the system, proving Willoh’s rare ability to turn raw self-doubt into a mesmerising, trend-defying soundscape that lingers long after the final note.
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Built around an instantly memorable chorus, ‘If I Were You’ is a breezy, beautifully understated slice of tropical indie-pop that finds warmth in its laid-back groove and melodic charm. Noonzy’s track gradually reveals layers of playful production, with a whistle melody doubled by clarinet adding an unexpectedly distinctive touch. The real magic arrives in the bridge, where the stretched-out clarinet creates a dreamy, almost weightless atmosphere. It’s a striking evolution from the song’s reportedly aggressive pop-rock origins, demonstrating Noonzy’s instinct for transformation and texture. Effortlessly catchy yet full of subtle detail, ‘If I Were You’ is a promising glimpse of Plan Is Bad.
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Driven by guitar riffs, punchy rhythms and an instantly singable chorus, Brad Mack brings his trademark Yorkshire twang to a track that feels built for packed rooms and festival crowds. There’s a familiar blend of Arctic Monkeys grit, Kings of Leon-sized hooks and Passenger-style storytelling, but Brad’s delivery keeps it distinctly his own. Honest, energetic and refreshingly unpolished, ‘Stan The Man’ captures the spirit of an artist who has spent years honing his craft on the road. This is Yorkshire indie-rock with plenty of heart and swagger.
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Capturing the effortless magic of NYC through a nostalgic, care-free lens, Christian Medice’s latest release ‘No Hands’ glides seamlessly between indie-pop gloss and moody alt-pop intimacy. Anchored by Jordan Greenwald’s irresistible opening guitar riff, Christian’s songwriting shines with a breezy authenticity, painting a romantic portrait of a time when the city felt vibrant and stress non-existent. The production strikes a perfect balance between laidback and emotional, which evokes the liberation of cruising through life without holding the handlebars. It’s an infectious, vibrant gem that bottle-captures youth, passion, and urban allure in a single, glowing listening experience.
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Meanjin/Brisbane artist Harley shines bright on ‘Gold’, the triumphant final preview of his upcoming debut EP. Stripping away machismo in favor of radical emotional honesty, Harley transforms self-discovery into a high-energy indie-pop/rock anthem. The track sparkles with moreish guitar tones, a bouncy drum groove, and lush synth accents that propel its uplifting message of independence and self-trust. Equal parts vulnerable and empowering, ‘Gold’ proves that trusting your own instincts yields rich rewards. With its irresistible hooks and sunny optimism, this feel-good single establishes Harley as a formidable voice in Australia’s indie scene.
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As the first complete song that Mick Eddy ever wrote, ‘What I’m Looking For’ is a quietly compelling introduction to an artist finding his voice. It carries an intimacy that feels genuine rather than polished for effect. Guitar and bass drive the track with an easy indie-rock momentum, while the production keeps the arrangement focused on the emotional friction at its core of wanting someone who somehow cannot see that they are the answer. Frustrated but hopeful, the song captures the messy space between communication and connection. It’s an auspicious starting point for Strange Weather, revealing a songwriter already attentive to feeling, texture and atmosphere.
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Manchester singer-songwriter Lucy Wentworth delivers a sharp, witty snapshot of millennial comparison on ‘Bottomless Brunch and Baby Showers’. She tackles the chaotic timelines of modern adulthood, where peers split between settling down and staying out late. Blending country hooks with her signature conversational storytelling, Lucy captures the bittersweet, unpredictable reality that growing up has no fixed roadmap. Equal parts relatable and wildly catchy, the track turns the anxiety of running your own race into an uplifting anthem that celebrates embracing the messy, beautiful present on your own terms.
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PURPLE MELON 