do you see? – THERA

With “do you see?”, THERA presents one of those tracks that functions less as a statement and more as a glimpse behind the scenes of an up-and-coming pop act who knows exactly how closely success and self-doubt are intertwined. The production – hypnotic, yet never overloaded – builds in waves, as if tracing the inner turmoil of a generation constantly oscillating between visibility and feeling overwhelmed. Her deeper, slightly husky voice acts as a counterbalance to the euphoric pulse, a point of grounding amidst all the glossy surfaces. What sticks in the mind is not the demand for perfection she describes, but the way she breaks it: quietly, yet unmistakably. do you see? showcases an artist who doesn’t polish her own narrative, but lays it bare – and in doing so truly stands out in the crowded pop landscape.

Working For The Man – Janet Devlin

Janet Devlin’s “Working For The Man” feels like a song that has been smouldering underground for years and is now finally releasing the heat that has built up inside it. The blend of Americana twang, clanging guitars and that slightly chaotic drive carries an energy that makes it immediately clear why fans have been clamouring for it for so long. Devlin’s voice sounds rougher, more determined, as if she were channelling her long-held frustration with a system that drains people’s energy straight into the beat. At the same time, there’s still a palpable sense of youthfulness – an echo of the 17-year-old who first wrote the song in the rain in London. In Nashville, it has now found its final form: vibrant, defiant, full of movement. A late, but all the more fitting, blossoming.

Waterfall – Allegra

‘Waterfall’ is the moment on Red when Allegra shakes off the heaviness of the previous tracks and allows for something bright and effortless. Following the sombre shimmer of ‘Ash’ and the club-ready shadows of ‘Slow Dance’, a space opens up here where everything feels lighter. The production relies on airy synths and a bouncy pop groove that feels like a warm breeze, whilst Allegra sings with a voice that sounds clearer and more self-assured than before. Precisely because her last project was so deeply rooted in heartbreak, ‘Waterfall’ feels like a conscious emergence: a song that doesn’t forget where it came from, but shows where she’s heading. It’s the most liberating moment of the EP, a small glimmer of light in the midst of transition.

Alice – Veronica Fusaro

“Alice” showcases Veronica Fusaro with the focused clarity that has defined her music for years. The song unfolds with a gentle pull: a restrained groove, plenty of space between the notes, and over it that warm, instantly recognisable voice, which does not parade vulnerability but reveals it casually. In terms of content, “Alice” fits seamlessly into the chapter of her album Looking for Connection: a piece about the struggle for closeness in a world that constantly distracts. Fusaro narrates with precise calm, without exaggeration, yet with an intensity that only fully unfolds in the afterglow. You can sense the experience of over 500 concerts – the balance of self-assurance and openness. “Alice” lingers because it doesn’t need to be loud to make an impact.