Happy New Year!
Excited to be sharing my listening habits with you again this year—if anyone’s interested, of course!

This month’s mix is a bit all over the place. January always feels musically odd to me—there’s a lingering hangover from last year’s hits, but not much new to get excited about yet. I think that’s reflected in my listening habits over the past few weeks—an eclectic collection of songs spanning different eras and genres.

As always, thanks for reading! A couple of quick notes:

1. Short on time? Check out the Essential 5!
2. AI was used to edit this. I’d never let AI write the blog for me—it’s my baby, and I always want it to sound like me! But in a busy life, it helps tidy up my chaotic ramblings a little, making the blog more readable. 😊

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The Essential 5

Joni Mitchell – The Beat of Black Wings

Joni at her most underrated in the late 80’s with this Vietnam War-inspired new age track.

Chantal Kreviazuk – Weight of the World

Breezy, carefree early 00’s pop rock.

Robbie Williams – Radio

Weird much-forgotten Robbie smash which pays homage to 80’s new-wave and synthpop.

Paul Hardcastle – 19

Brilliant, pioneering synthpop documenting the effect the Vietnam war had on young soldiers, with brilliant use of sampling.

Emma Bunton – 2 Become 1

A stunning, mature orchestral arrangement of a much-loved Pop classic.

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The Long List

Joni Mitchell – The Beat of Black Wings

I adore Joni Mitchell. She’s a wonderful musician and singer, but above all, she’s a poet. I’m less familiar with her work from the late ‘80s and ‘90s, which is when this was recorded, but I stumbled across it after hearing Janet Jackson’s cover online—and I fell in love.

The song tells the story of ‘Killer Kyle’, a real soldier who fought in the Vietnam War, whom Joni met and was inspired to write about. Beyond its brilliant storytelling, the production is brilliant. The dreamy synths, the haunting “Johnny Angel” refrain (sampled from Shelley Fabares’ hit), and the mechanical percussion all combine to create an atmospheric masterpiece. The latter even seems to mimic the relentless sound of helicopter blades, echoing Killer Kyle’s PTSD. A hugely underrated Joni song.

Chantal Kreviazuk – Weight of the World

Lord, how I miss this breezy early ’00s pop-rock sound! It’s got that carefree, windows-down-in-the-summer energy. Spotify recommended it to me, and it got it so right!

An album track from the early noughties by Canadian singer-songwriter Chantal Kreviazuk (who I hadn’t heard of before this), it’s effortlessly uplifting. The irresistible, hook-filled chorus soars over punchy drums, sunny acoustic strums, and bright electric guitars. I love it!

Robbie Williams – Radio
I’d almost forgotten about this brilliantly weird Robbie smash which pays homage to ‘80s new wave and synthpop.

His first single without longtime collaborator Guy Chambers, ‘Radio’ was co-written with Stephen Duffy, who had success in various bands and projects. The track reflects Robbie’s fascination with extraterrestrial and paranormal themes, which dominated this phase of his life. It became his first UK Number 1 in three years and would be his last for another eight before 2012’s ‘Candy’.

Paul Hardcastle – 19
Listening to Joni’s ‘The Beat of Black Wings’, which tells a story of the Vietnam War, reminded me of this absolute classic. I first heard it when I was about 11, and I was OBSESSED. Turns out, I still am.

Inspired by a documentary on America’s role in the Vietnam War, Hardcastle wove in voice clips from the film, making the song a pioneering use of vocal sampling. The distinctive synthesised stutter effect—on words like “nineteen”, “destruction”, and “Saigon”—gave it a haunting and panicked feel. Fusing elements of electro, jazz, and even early hip-hop, it remains an incredible and hugely influential track.

Emma Bunton – 2 Become 1
The original Spice Girls version is, of course, a classic—lushly produced and one of my favourite Spice tracks. Slushy and cheeky, but perfect pop.

I’ve also heard the girls record and perform many awful solo versions of it which fail to live up to the majesty of the orginal.

This, however, is exquisite. Recorded with the Budapest Scoring Orchestra, it stays true to the original but replaces the ‘90s instrumentation with sweeping strings and orchestral flourishes. Bunton almost sounds like Olivia Newton John here, her voice as sweet and gentle as it always was but with newfound maturity. I love the very slight chord changes in this version, particularly during the outro. Gorgeous!!

Aaliyah & The Weeknd – Poison
I keep coming back to this. It was absolutely slated on release—probably fairly—due to Aaliyah’s vocals sounding distorted next to The Weeknd’s pristine delivery. Many fans felt the record label was exploiting her legacy and argued that if the original vocal recordings weren’t clear enough, they shouldn’t have bothered.

And yet… I find it utterly gorgeous. Yes, Aaliyah’s vocals sound heavily processed and slightly ‘off’, but when I let that go, I hear a stunning, chilled-out R&B track.

Wolf Alice – Smile
BBC Radio 1 played this on one of my first drives back to work after Christmas and New Year, and I was instantly reminded of how much I love it.

Built around distorted guitars and a punk-pop energy, the song reflects on the assumptions people make about others. I love the contrast between the sharp, irritated verses and the hazy, shoegaze-like chorus. SO good.

Tyler, The Creator and Lola Young – Like Him
I never paid much attention to Tyler, The Creator until his last few releases, but this one really stuck with me.

A piano-led, soul-infused track with soft falsetto vocals and a mellow vibe, ‘Like Him’ explores Tyler’s upbringing without a father and the complex emotions that shaped him. It’s beautifully understated yet deeply moving.

Toby Lee – Patiently Waiting For Love
I discovered Toby Lee while watching Jools Holland’s New Year Hootenanny and instantly warmed to his pop-blues hybrid sound. In many ways, he feels like a cross between John Mayer and Tom Odell.

This is my favourite song from his album, and it makes him sound so much older than he is—there’s a depth and richness to it that’s really striking.

Bleachers – Tiny Moves
Jack Antonoff—iconic, nerdy, and one of the most in-demand producers (Taylor Swift, The 1975, Lana Del Rey, Sabrina Carpenter, etc.)—also leads his own band, Bleachers.

His signature style borrows from ‘80s rock (think Bruce Springsteen), big synths, and percussive guitars, and ‘Tiny Moves’ is no exception. There’s an organic warmth to it, enhanced by live percussion and a saxophone-laced arrangement.

Borderline – Heartbeat
A brilliant pop-rock track from Auckland-based band Borderline, with a distinct ‘80s energy.

It’s got a bit of The 1975, a bit of Walk the Moon—punchy drums, echoing vocals, and percussive guitars all working together perfectly. The chorus? Absolutely addictive. Love this!

raph, EJEAN – summer
This is just lovely. Dreamy, lo-fi R&B with hazy acoustic guitar strums and soft, intimate vocals. Short and sweet—but exactly what it needs to be.

Lauren Mayberry – Crocodile Tears
I think I love Lauren Mayberry solo more than I ever did during her time in Chvrches!

‘Crocodile Tears’ is a triumph—bouncy synths, crisp percussion, and fantastic production. It’s got an infectious energy that I can’t get enough of. LOVE this.

Tom Misch – Cinnamon Curls
I’ve been a fan of Tom Misch for ages, and his music always has that effortlessly chilled, musically rich quality.

This track has a distinct ‘90s slow-jam feel, blending neo-soul influences with a laid-back groove. The phrasing of “you are my world” reminds me of D’Angelo in the best way.

The Lottery Winners and Reverand and The Makers – You Again
This song is pure joy! A perfect collaboration between indie-pop band The Lottery Winners and English rockers Reverend and The Makers.

Breezy synths, a funky bassline, and a ridiculously catchy chorus make this an instant feel-good anthem. Love it!