Stephani Ezatoff – Run On
Stephani Ezatoff delivers a spine-tingling Gospel rock triumph with 'Run On', a powerhouse tribute to Elvis
'Run On' opens like a sermon building toward revelation. Ezatoff's take on the traditional African American Gospel hymn, famously interpreted by Elvis in 1967, finds her performing every vocal part herself, layering voice upon voice until the whole thing becomes massive. Aaron Minick's arrangement captures that tension between divine love and judgement, and producer Brian Speer wasn't wrong when he called it like a movie soundtrack. It's honestly a real vibe this one; and I'm completely sold. Stunning Gospel rock, raw and utterly transporting.
Ezatoff is a Pittsburgh singer with serious credentials. She's been named Semi-Finalist for Best Female Vocalist in the Unsigned Only Music Awards, and her cover of Babbie Mason's 'God Will Open the Windows of Heaven' took home Best Song and Best Music Video at the Christian Online Film Festival. This one was recorded at Nashville's Sound Shop Studio on Music Row, just steps from where Elvis cut his own version at RCA's Studio B, which is pretty cool, huh? A real Gospel triumph, and one we're excited to share.
Brett Ashby – Over
Brett Ashby and Queenie deliver a gorgeous soft rock meditation on letting go with 'Over', a lovely collaboration from Melbournethat earns its emotional weight
'Over' opens on a breath held just long enough. Brett Ashby builds the track around that turning point everyone recognises: the moment when you stop fighting what's changing and start moving with it. Queenie's vocals arrive as counterweight, her presence adding a lovely texture and tension to Ashby's more understated delivery. The production has a lovely patience, and things are kept spacious, before an epic rock explosion kicks off in its last section. It's elegant rock, warm and produced wonderfully.
Brett Ashby is Melbourne-born and has spent two decades working across painting, film, performance, directing, ghostwriting, and major public commissions. Music is one thread in a much larger creative practice, and 'Over' carries that artist's eye: every element feels considered, nothing wasted. Queenie's feature adds a contrasting energy that lifts the whole thing. This is a lovely single from an artist clearly comfortable working across forms, and we're genuinely curious to hear where the music goes next.
Peningo Riders – High Street Roadhouse
Peningo Riders unleash a ferocious garage rock tribute to New York honky-tonk history with 'High Street Roadhouse', anelectrifying rock groove
'High Street Roadhouse' kicks down the door before the first verse lands. Peningo Riders have built this one around a legendary New York bar, and the track sounds like it was recorded in the back room after hours: blistering guitar riffs, drums that build and crash, and a roaring baritone sax that drags the whole thing somewhere between Manhattan and the Louisiana bayou. The live-room energy is fantastic, there's swagger, storytelling and I honestly feel like grabbing a whisky at the bar. Superb retro rock, raw and completely alive.
Rye, New York's Peningo Riders are Eddie Pellon and Russ Davis, a duo who started with guitar lessons and ended up writing songs together. Back with us again after 'Pawn Shop Guitar' a few months ago, they're pulling from the Allmans, Zeppelin, The Band, and a touch of Southern grit to craft something that feels rooted in rock's golden eras without sounding like a museum piece. This one's their best yet, in my book, so we'll be keeping an eye on what comes next.
Briar City – Armageddon
Briar City bursts onto the scene with 'Armageddon', a pop-punk scorcher that turns reality TV heartbreak into a sharp debut single
Sean Francis has taken the Scandoval mess and turned it into a proper anthem. 'Armageddon' builds its break-up narrative around that 2023 Vanderpump Rules scandal, but the specifics matter less than the feeling: betrayal, public humiliation, the whole world watching you fall apart. The production from We The Villains layers distorted guitars over programmed drums with a hyperpop sheen that keeps everything punchy and modern. It's catchy as hell, and feels very 6music to me. Best of all the chorus hits hard and stays stuck. Brilliant pop-punk songwriting, glossy and a little venomous too.
Briar City is the new project from Irish songwriter Sean Francis, previously a founding member and primary songwriter of Crown The King, where his work earned international press, radio play, and features on Spotify and Apple Music editorial playlists. He's traded the band setup for something leaner here, pushing into modern pop territory with production from We The Villains, the Irish duo behind The High Kings' viral hit 'The Irish Roar'. Dublin's got a new voice worth watching, and we're excited to hear where this project goes next.
Romattic – Candy Smoking
Romattic's 'Candy Smoking' is a brilliant pop-punk gut punch, turning toxic love and social pressure into an alt-rock stunner
'Candy Smoking' hits with a hook that lodges itself somewhere between your ribs. Romattic have built this one around a brutal premise: a guy who knows his relationship is one-sided, knows his friends are right, but cannot walk away because being alone feels worse than being used. Sadly, I've been there. The track leans hard into that contradiction, guitars crunchy and urgent, the vocal delivery caught between defiance and desperation. And that line about friends telling him he is hopeless while she strips off his senses? Ooft, it lands. Sharp pop-punk songwriting, raw and sadly verybelievable.
Romattic is a Norwegian project out of Krokstadelva, now a collaboration between singer-songwriter Theodor Andreas Halmrast and producer Tommy Duong. It started solo in 2025, went through a few versions, and landed here. The name mashes Romance and Attic together, shortened because the original sounded too long. Their earlier EP My Happy Place leans into 80s and 90s textures with classic rock running underneath. The founding concept? Fuck around and find out. We love it.