“‘Oh Mother’ is about leaving home and feeling confused about where home is now meant to be. It captures the nostalgia of being a child, and reflects what it’s like to miss feeling protected.”

“‘Honey Factory’ is a fever-dream fantasy of burning it all down. I was thinking about this idea of being a bee in someone else’s machine, and how luxury today feels dystopian.”

Built on moody, contemporary production and guided by Ebony’s smooth, understated vocals, ‘Drunk Callin’’ captures the fragile space between impulse and control.

“Loophole explores the feeling of mentally stepping outside yourself when someone is yelling at you, using restraint and distance as a way to survive. I think it’s very on brand for me - something that makes you wanna dance with super depressing lyrics. If that’s my legacy, I’ll die happy.”

"The seed for 'In a Song' started sprouting in the spring of 2023 as I navigated life in Amsterdam, moving between our sailboat home, subrents along the canals, and the boatyard.”

“I wrote this song when I stopped trying to fight my thoughts and started listening to them. It’s about learning how to exist with my mental health instead of against it, and finding peace in that.”

“It’s about releasing shame and reclaiming power, I want women to feel anger as something validating and energising, and I want men to know this song is calling on them to take responsibility.”

“I think the song, even though it stemmed from a sad time, is a reminder and dedication to anyone who’s ever felt lonely (all of us) and a reminder that we never are alone. Community is everything.”

“This song is about the emotional crash that happens when you stop running from yourself. When you finally let everything you’ve been holding in rise to the surface, it can completely flood you.”

“‘Come A Day’ lives in the space between hurt and healing. It’s about moving through pain while holding onto the belief that it won’t last forever.”

“It had to feel sexy, but with desperation underneath. It’s about performing confidence while pushing through your own inhibitions to forge a new sense of self and sensuality.”

“It’s about knowing you pushed someone to their limits, but also knowing it was true to who you are.”

“It’s about not being ready to feel my feelings. Like life is happening on the other side of a heavy curtain — like each day is a drill for the real thing.”

“This song has a way of comforting me, not just as a reminder of my friend, but by saying there’s hope in times of loss and disappointment. At the end of that chorus I’m still dancing, still asking “will you shine for me”? And every year the Sunflowers come back and follow through.”

“This song has a very specific sense of place for me, but it’s also about looking back. […] I wanted to create a memory for people to get lost in… it’s a bit of a time capsule.”

Brighton-based indie-pop newcomer Mia Langridge returns with her vibrant new single Birthday Party, already a standout favourite at her live shows and her third release in a breakthrough year.

“It’s just how I was feeling. A new year, fresh energy. I grew up watching Nigerian football — Okocha, Kanu, Taribo, Celestine — all these guys had speed. Speed makes me move. You can pause but never stop.”

“‘Heavy, Why?’ is lyrically light and instrumentally heavy—a cryptic reflection on disembodiment, asking simply: why is it so agonizing to be turned away from the self?”

“I’ve never experienced anything like it. They were chatting through my set — some of it was actually quite funny — but it sent me somewhere else entirely.”

“‘War Crimes’ feels like the first real protest song I’ve ever written — an evolution of my sound. It’s an ode to those who feel betrayed by a Labour government that’s drifted right under Keir Starmer. Watching the genocide unfold and seeing our leaders enable it left me feeling helpless — this song channels that emotion.”