“’Love & Money’ is my tribute to the kind of all-consuming, reckless love you see in stories like Pam and Tommy,” Luvcat shares with The Line of Best Fit “I wrote it after meeting a bartender in a pub, falling head over heels instantly, and spending an unforgettable, mischievous night in London.”

The song erupts into a dreamy whirlwind of layered harmonies and bold instrumentals as Luvcat dives headfirst into what she calls the “worst idea” she’s ever had, lost in the haze of her own illusions. “Let’s make love and lots of money,” she sings, as the euphoric production blends elements of contemporary pop with smooth hints of R&B and indie rock, delivering an effortlessly infectious anthem.

Accompanying the release is a vibrant music video packed with references to classic romance films like “Candy” and “Notting Hill”. Luvcat stars alongside an old flame, capturing the essence of youthful chaos and passion.

“We filmed in all my old haunts, trying to recreate the messy yet beautiful love story of two naive Scousers living it up in London,” she explains.

‘Love & Money’ was released in the midst of Luvcat’s sold-out residency at London’s Hoxton Hall. With her fan base skyrocketing and millions of streams on her first few singles, this may be one of the last times she performs in such an intimate setting.

The artist is set to embark on her European tour later this spring, stopping in various cities around the continent. Before that, however, she still has a few stops on the UK leg of the tour:

February 18 – Hare and Hounds, Birmingham
February 19 – King Tut’s, Glasgow
February 21 – Academy 3, Manchester
February 22 – Arts Club Loft, Liverpool

The artist will be returning to the UK in May for concerts in the following cities:

May 15 – The Great Escape, Brighton
May 23 – Wide Awake, London
May 24 – Live at Leeds in The Park, Leeds
May 25 – Neighbourhood Weekender, Warrington

Over the summer, Luvcat will be busy playing festivals around the UK and Europe, including slots at Paris’s Rock en Seine and Leeds and Reading Festival.

The song is available to listen to and streaming platforms, where it is listed as an EP with the artist’s latest releases, including ‘He’s my Man’ and ‘Matador’.

‘Short n Sweet’ was included in Official Charts’ List of Biggest Albums of 2024, second only to Taylor Swift’s ‘The Tortured Poets Department‘ and The Weeknd’s ‘The Highlights‘, it achieved the third position despite being released relatively late in the year.

as a thank you for giving this album 2 Grammy’s :’)
short n’ sweet deluxe is now available for pre order.. out February 14th!

and yes that does say featuring Miss Dolly Parton…. she wouldn’t want me to swear but holy shit!!!!!https://t.co/eazkwkJzcI pic.twitter.com/2Vc3u6sb9s

— Sabrina Carpenter (@SabrinaAnnLynn) February 4, 2025

The album was released in late August, and it debuted at number one right away. ‘Short n Sweet’ marked Carpenter’s second album to chart in the UK despite the singer had already released multiple albums under a different label. In a recent interview with Vogue, Carpenter discussed the influence her previous label, Hollywood Records, had on her music and revealed that she was originally supposed to release more albums with them. She said: “I definitely didn’t fulfill my contract, thank God.”

After leaving Hollywood Records, Carpenter signed with Island Records. She released ‘Emails I can’t send‘ in 2022, originally debuting at 76 and only charting for one week. The album however gained more popularity as Carpenter gained more attention earlier last year; the song ‘Nonsense’ also received acclaim from critics and fans, specifically for its ever-changing outro which went viral many times on TikTok, and peaked at 32 soon followed by ‘Feather’ which peaked at nineteen. This year, ‘Emails I can’t send‘ peaked at 41.

Carpenter also released a Christmas special titled ‘Fruitcake‘ which peaked at number five in the UK.

Before releasing ‘Short n Sweet‘, Carpenter had already reached new levels of fame and success with the singles that led up to the album, which made the singer a real UK chart-topping queen. ‘Espresso’, ‘Please, Please, Please’ and ‘Taste’ became this past summer’s anthems and spent weeks at the top position of UK charts, breaking records. ‘Espresso’ spent 38 weeks in the top 100 and seven at number one, followed by ‘Please, Please, Please’ spent 18 weeks on charts and nine at number one, and ‘Taste’ spent 24 weeks on charts and nine at number one.

‘Short n Sweet‘ has, so far, spent twenty four weeks in the top 100 and only recently left the top three, chasing at number four for one week. With the release of the deluxe version set for tomorrow, the album is likely to achieve the number one position again in next week’s Album Chart. It would mark the record’s third week at number one. The deluxe is set to contain five tracks, including an exciting feature with Dolly Parton on a new version of ‘Please, Please, Please’ and four brand new tracks.

Sam Pounds posted on social media earlier this week to announce the release of the new single, on which he and Payne had collaborated shortly before the latter’s passing. The producer has anticipated that there will be different versions of the song released, including a live mix and a Acappella version. He has also revealed the artwork of the song: an illustration of wings and a broken heart. Pound wants to make sure that the world has some new songs to remember Payne by. With the announcement of the new single, Pound wrote on social media in a now deleted post that he hopes this new song will be a blessing to the world and it can bring comfort to his fans and especially his family.

November 1st pic.twitter.com/bLbPxaqZBC

— Sam Pounds (@iamsampounds) October 26, 2024

Pounds has previously worked with artists such as BTS and Snoop Dogg, he is well known in the music industry for his ties to artists such as Drake or Jamie Foxx and in 2023 the producer released his debut album “Don’t forget where you came from”.

After Payne’s passing, Pounds took to social media to share a heartfelt message about the singer, saying that he had read reports but he “knew his heart” and shared a video of himself working with Payne on the single. Pounds’s comment refers to the reports of Payne past conduct in relationships, as days before his death his ex-fiancée Maya Henry had released a statement on social media which claimed had been abusive towards her during their engagement and time together. She released an interview to “The Internet is Dead” podcast just before Liam’s dead, stating that Payne would often text her and her family, even after their breakup, asking for help and claiming he wasn’t doing well. Henry has, since Payne’s passing, asked for privacy on social media.  

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A post shared by Sam Pounds (@iamsampounds)

Payne’s solo career after One Direction had never reached the success the artist had in his time with the band; he had released his debut album “LP1” in 2019 but had failed to reach successful positions on worldwide charts. His latest single “Teardrops” had peaked at 43 on UK charts after being released in March, and Payne had teased that to be the first song out of a more personal, deeper album which was originally set to come out before the end of the year. It’s unclear whether we’ll ever get to listen to the album after Payne’s passing.

The song, set to be released on Friday, can be pre-saved on Spotify, Apple Music and Deezer.

Presumably titled ‘Skinty Fia’ the new single was shared to us via the band’s socials, in the form of a YouTube premiere, set for 6PM GMT on Tuesday 11^th. This marks the first new studio recording since their sophomore album LP A Hero’s Death was released back in 2020, to solid critical and commercial acclaim. The popularity of the album lead to the band playing a huge headline show at London’s Alexandra Palace, where they would share the first of their first new material to the eagerly waiting fans. ‘I Love You’ begins nicely with its Johnny Marr-Esque jangly guitars, but by the end returns to the driving urgency the band have become known for. Watch a fan-shot video from the gig below.

During an interview with NME back in September, the band’s bassist Connor Deegan III explains, “The third album is really good,” which is a very good start, “We all thought the songs were quite poppy. We thought we’d got this sound that was finally the sound that we wanted to get across the songs, which we thought was quite poppy.” This could be good news, or bad news depending on what camp you sit in. But, “We showed them to our manager, and he said, ‘Lads, this is the darkest shit you’ve ever written!’ And we were like, ‘What? What are you talking about? This bass melody is catchy, this vocal melody is catchy’. He was just like, ‘No, this is extremely dark’. So there you go!”.

So whichever side of the fence you sit on regarding their possibly-pop-driven new direction, we know that it’s due soon after it was first confirmed to be pretty much finished back in March last year after a Reddit AMA with the band revealed “We just finished mixing the next record last week, sounding really great. It’s funny because we were so swept up with touring when we were writing a hero’s death, I think we only got a sense of what that record really is now.”

See here for the group’s full list of appearances in the summer.

The track is impactful from the start, with Ghetts rapping about his family, past mistakes, and positive change, over a lulling, mellow beat. Across the track, a theme of benevolence runs throughout, as the artists raps lyrics such as “Unconditional love, that get through anything miracle love, that nothing can’t top this pinnacle love, that spiritual love, that’s that original love.”

PROUD FAMILY OUT NOW #GIIGhttps://t.co/UaQsNVznal pic.twitter.com/DJxKZg8WZq

— GHETTS (@THEREALGHETTS) December 16, 2020

The music video that accompanied the track is equally moving, with the artist and director utilising a split-screen effect in order to show Ghetts progression. While one side depicts the artist young and getting arrested, the other shows him matured, surrounded by family, and creating music with artists such as J Hus, Dave, and Stormzy, who make cameo appearances within the video.

It’s been a few years since the artist dropped a full-length release, with his most recent album ‘Ghetto Gospel: The New Testament’ coming out in 2018. However, this single, as well as his other 2020 releases ‘IC3′ featuring Skepta and ‘Mozambique’ featuring Jaykae and Moonchild Sanelly, have left fans and critics alike eager for the artists next album. With ‘Proud Family’ being such a powerful, inspiring track, the artist has proved that whatever he releases next, will be worth the wait.

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A post shared by Evanescence (@evanescenceofficial)

Alongside the announcement, the group also released single ‘Yeah Right’, a track taken from the upcoming album. This is the third single from the group this year, with their previous singles “Wasted On You“, “The Game Is Over“, and “Use My Voice” being released previous. With captivating groves and playful lyrics, ‘Yeah Right’ is an intoxicating insight into the groups experience within the music industry, that sets high expectations for the bands future releases.

The group celebrated the announcement and the single release with a virtual livestream, dubbed the ‘Evanescence: A Live Session From Rock Falcon Studio’. The performance was streamed on the 5^th December and will be available until the 8^th December from the band’s website. However, the group aren’t limiting themselves to virtual performances, and are planning to embark on their rescheduled Europe tour in September 2021. You can check out the tour dates below:

08/09/21         Hallenstadion- Zurich
09/09/21         Mediolanum Forum- Milan
11/09/21         Velodrom- Berlin,
12/09/21         Arena Gliwice- Gliwice
14/09/21         Quarterback Immobilien Arena- Leipzig
15/09/21         Barclaycard Arena – Hamburg
17/09/21         Ziggo Dome- Amsterdam
18/09/21         Ziggo Dome- Amsterdam
20/09/21         Accorhotels Arena- Paris
21/09/21         Mitsubishi Electric Halle- Düsseldorf
22/09/21         Zenith- Munich
24/09/21        Rockhal Esch-Sur-Alzette
26/09/21        Festhalle- Frankfurt
27/09/21        Palais 12- Brussels
28/09/21        Palais 12- Brussels
30/09/21        The SSE Hydro Arena- Glasgow
01/10/21        First Direct Arena- Leeds
03/10/21        Utilita Arena- Birmingham
04/10/21        The O2- London
07/10/21        Palacio Vistalegre- Madrid

Listen to the bands latest single ‘Yeah Right’ now:

Mixing 90s RnB, with modern-day groove, ‘Downtime,’ is an invite to unwind. The group’s radiant harmonies work seamlessly together, as they about escapism atop soothing synths and light pulse beats. Put together, the blend of sounds and create an atmosphere that will calm anyone who listens, cementing the track as another stellar addition to the band growing discography.

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A post shared by 303 (@theofficial303)

“When we wrote ‘Downtime’ each of us had a feeling it was a special song and we’re so happy to be finally releasing it now,” the group said in a statement. “‘Downtime’ is about being lost in the moment with someone special and we really hope people listening to the song enjoy it’s vibe and sentiment.”

This is the group’s second track this year, with the acoustic cover of ‘Right this Time’ being released in July to rave reviews. While fans are still awaiting a full album from the group, ‘Downtime’ is an assurance that whatever the group release next, will be worth the listen.

Drenched in dreamy synths and pensive lyrics, ‘Think About It’ is a trip across genres. Throughout the track, Haich pulls from sounds such as RnB, bedroom-pop and new-wave psychedelia, filtering them all through his unique storytelling approach to produce an otherworldly experience. It’s a track to get lost in, packing enough subtle details into its 4-minute runtime, that listeners can find something new with each playback.

“Me and my cousin Daniel James, who’s based in the US and is also a musician, wrote the chorus about 10 years ago,” Haich explained in a press release. “The song is about someone wanting to follow their dreams but being worried it won’t work out.” It’s a subject matter that adds another note of authenticity to the already deeply personal track, having been written, produced, and recorded in the artists home studio in Lewisham. The track was then mixed by seasoned sound engineer Edmund Irwin Singer (Glass Animals), with additional production provided by bandmate True Diesel.

Alongside the release artist also provided visuals alongside the release, describing the self-directed music video for the track as in the realm of ‘MTV 90’s funk’. In the video, we see a die-hard karaoke go through a surrealist wormhole dripping in pre-2000s nostalgia, with visuals of the track being accomplished by the help of cutting-edge arts hub HQI, and Mansions of the Future.

“The concept for the video came from me thinking about how bad some “official lyric videos” are, and how I could make one where people might watch until the end.” Haich stated. “I find it interesting that as artists we put so much effort and seriousness into our work and how it’s perceived. But eventually, especially in pop music, your work can end up looking and sounding different and be used for completely different purpose.” 

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A post shared by Haich Ber Na (@haichberna)

This track, is the third single the artist has released this year, all of which will appear in his upcoming EP ‘From Then Til’ Now’. In all it’s sound-melding glory, ‘Think About It’ serves as the perfect addition to the artists impressive discography, and cements Haich Ber Na’s status as one of electronica’s best kept secrets.

Listen to ‘Think About It’ below:

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“Hear My Voice” a new song written for the film @trialofchicago7 Directed by Aaron Sorkin Song Written by Myself & Daniel Pemberton it’s out now! I hope you like it. Watch the video now. The film itself is out October 16th on @netflix

A post shared by Celeste (@celeste) on Oct 8, 2020 at 11:03am PDT

Hear My Voice was co-written with Ivor Novello winning composer Daniel Pemberton. It was created to be the final song of the film, something to leave the viewer with a ‘sense of hope and possibility, of light beyond the darkness.’ Pemberton said that he ‘knew straight away that [he] wanted to collaborate with Celeste, as her voice is one of the most magical things [he] has heard in recent times…’.

The film explores the corruption within the Chicago court system, following on from the anti-Vietnam War protest in 1968 at the Democratic National Convention and resulting trial of seven high profile counter-culture figures. Overall, the film is about America’s ‘prickly relationship with dissent’, so ironic for a country that prides itself on ideals of democracy and free speech.

One storyline within this is the mistreatment of the only black man on trial, co-founder of the Black Panther Party, Bobby Seale. In one scene, Seale is shackled and gagged on the orders of the judge. The horrific treatment he receives forces the audience to question whether things are better, or worse, for a black man living in America today.

The pertinence of this subject matter is acknowledged by Pemberton who says that he and Celeste have made a song ‘with a strong, powerful and simple message at its heart that feels as relevant now as it does to the events in Chicago in 1969′. Celeste agreed that the message of both the film and song is ‘important…timely [and] relevant’.

It is incredibly sad that the message of Hear My Voice is still so relevant today, but Celeste and Pemberton manage to inject the song with the ‘sense of hope’ intended. Bright string arrangements and plucky piano chords combine with Celeste’s determined vocals to create a song that is both heart-wrenching and uplifting at the same time.

In the chorus Celeste appeals to the listener: ‘Let us make a world in which in we believe’. The song is a call to action against oppression, a request for unity in overcoming it.

it’s here it’s yours — welcome to the world, baby https://t.co/R7KuDBnAW9

— Fenne Lily (@FenneLily) September 18, 2020

Lockdown swirls around Breach. Although, in this instance, it is Lily’s self-enforced, pre-pandemic period of isolation in Berlin that drew an album out of her. Nonetheless, now we all have a sense of how that probably felt.

The album opens with the whispering of ‘To Be a Woman Pt 1.’, which encapsulates the series of expansive themes that Breach flirts with. This is followed by the first two of Breach’s singles, ‘Alapathy’ and ‘Berlin’.

In isolation, ‘Berlin’ was a great single. As the third track of the album it is little less than perfect. At just fifteen lines, you can’t help but be reminded of one of those fragmentary tracks like ‘Wish You Were Here’, where every word is precious. It was composed out of voice notes that Lily managed to recover after a phone crisis during the trip.

Lily lets us all the way into her thought process. Like being inside your own brain, it makes complete sense and no sense at all. ‘I, Nietzsche’ is perhaps the best example of this; it circles around all its own points. By contrast, the latest single, ‘Solipsism’, is a fresh burst of energy – it is certainly one of Breach’s standout moments.

Following ‘Solipsism’ is one of the most memorable tracks on Breach: ‘I Used To Hate My Body But Now I Just Hate You’. The universality of this song translates into lines such as, “I read all of the books you recommended / I listened to your friend’s band all the time.” As the chorus builds for the first time, into the titular sentiment, you feel Lily regaining her autonomy with every word.

This is one of the ways that Lily’s new, cynical, honest voice comes through. It’s a fantastic take on a break-up song – it’s not comfortable or easy or tragic, but rather challenging. It turns heart-ache upside down and inside out to get to its very core: the song is heavy with self-questioning and monotony, but it is relatively free of bigger, existential questions about break-ups. The outro reaches great heights, and the final half line reasserts a note of triumph and control.

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there are 1,271 words on this record but it’s hard to find the right ones to send it into the world with. I’ve been waiting for this day to come for a long time and it feels surreal to say that BREACH is yours now — every side of love and pain reduced down to two. my dad used to call me a tiny warrior and that’s how I feel about this record — I hope it gives you something. it’s given me a lot. there’s no way it would’ve happened without the following people : @slonkslonkslonk @joshuadavidsparks @alichant @brian.deck @hollyshay @rfjaffe @deadoceans @joncoombs @lucydacus @luxtonluxtonluxton @nicoleloucaides and my little orchestra — thank you big time

A post shared by Fenne Lily (@fennelily) on Sep 18, 2020 at 3:54am PDT

Breach starts to wind down here, starting with ’98, a touching audio clip from Lily’s childhood. Situated between ‘I Used To Hate My Body…’ and ‘Someone Elses’ Trees’, it is perfectly placed to reinject a note of nostalgia. Generally, Lily is one of those people who finds their magic in the everyday; toothbrushes, cold baths and laundry all work together to cover much vaster ground.

Many reviews have noted that where Lily was struggling to be alone with herself on her previous album, she has confronted this from every angle. The album comes with a statement from Lily declaring that she no longer needs to “fixate on relationships to make myself feel like I have something to talk about.” A previous press release spoke about Lily was working out the difference between “being alone and being lonely.” 

 On Instagram, she touchingly described Breach as a “tiny warrior”, something her dad used to say about her. Somewhere between “tiny warrior” and “I used to hate my body” – where “used to” is emphatic – and the fragments of ‘Berlin’ and ‘To Be A Woman Pt. 1’, Lily is excavating as many answers as she is raising questions.