Death Row Records’ Southern Soul sensation Tonio Armani has released “Trailride,” a dance-ready track that fuses Southern Soul, blues and country-influenced R&B into an infectious groove. Driven by funky bass lines and Tonio’s rich, inviting vocals, the song captures the joy of community gatherings from line dancing at cookouts to riding out at trailride events, perfectly bringing to life the energy, movement and celebration of Southern culture. Tonio tips his hat to Quad City DJs and their classic “C’mon N’ Ride It (The Train),” taking that same spirit and movement while giving it a new Southern Soul flavor for grown folks to two-step to in 2025. The track carries the torch of a culture that lives and breathes through music, movement and community, delivering something that still feels good but hits different.
The King Canutes Return After 17 Years With “Seymour Stein (for Earle Holmes)” From Debut Album ‘Eastern Seaboard, Perfect Summer’
Brooklyn-London based indie duo The King Canutes have released “Seymour Stein (for Earle Holmes),” the first single from their debut album ‘Eastern Seaboard, Perfect Summer’ arriving November 21st via Magic Door Record Label. This marks their first release since their 2008 debut EP ‘Last Callers and Losers,’ a 17-year gap that makes this return all the more significant. Keir Woods brings a sonorous true folk voice of Northern England on vocals and guitars while Richard Alwyn Fisher delivers scrappy Replacements-style Midwestern energy, the two having met in Brooklyn in the early 2000s within NYC’s cosmopolitan pop and indie rock scene. Written by Keir after moving from NYC to Paris, the song captures the elation of freedom and release mixed with bittersweet frustration of starting the artistic journey again and the fear that maybe this is as far as it goes, dedicated to club owner and friend Earle Holmes who gave Keir his first Paris bookings.
Produced, recorded, mixed and mastered by renowned producer Ray Ketchem at Magic Door Recording Studio, the track features stellar horns from the iconic Mac Gollehon, plus Ketchem on percussion and keyboards, bassist Dave Derby, drummer Kevin March, and Jessie Kilguss on backing vocals. The King Canutes make intelligent, skewed pop with echoes of early 80s and 90s Australian and Scottish pop, British folk and Midwestern indie rock, with their music sitting somewhere between The Go-Betweens and The Postal Service. Some fifteen years in gestation and three years in the making, their coming album features contributions from a veritable who’s who of the indie scene including Kendall Meade, Mike Dillon, John Leon, David Nagler, Doug McEachern, Renée LoBue and Verena Wiesendanger.
Liam Foody Explores Emotional Struggle Of Letting Go On Introspective New Single “The One”
Ballyhaunis singer-songwriter Liam Foody releases “The One” on October 10th, an introspective track exploring the emotional struggle of holding on to things we don’t want to let go of while delving into the difficult realization that everything happens for a reason. The single came together unexpectedly when Foody was in the studio working on a different song and the chorus melody suddenly came to mind. The rest of the track developed quickly as he and longtime collaborator, fellow Mayo musician Kriss Kurda, shifted focus to getting this song finished. Kurda brought the track to life with synthesisers, live guitar and heavy drums before Dublin-based producer Gavin Doyle added his finishing touches.
Since his 2024 debut, the “New Local Hero” nominee has earned widespread acclaim across Irish media with features in Hot Press, The Beat, Pure M Zine, The Daily Music Report and more. His atmospheric indie sound and heartfelt songwriting have positioned him as a sure one to watch in the Irish music scene. With only his third original release, “The One” deepens the promise Foody has shown from the beginning, marking another confident step forward as he emerges as one of Ireland’s freshest new voices in indie.
Cyan Kicks Delivers Most Powerful Album Yet With ‘Come Hell, Come High Water’ Featuring Ten Uncompromising Tracks
Helsinki-based alt-rock band Cyan Kicks has released ‘Come Hell, Come High Water,’ their most powerful and ambitious album yet. Formed in 2016 by vocalist Susanna Alexandra, guitarist Niila Perkkiö, bassist Leevi Erkkilä and drummer Pietari Reijonen, the band worked on this 10-track collection across four cities over two intense years in Los Angeles, Gothenburg, Helsinki and London. Each song received dedicated time and attention as the band pushed their music into heavier, angrier and more aggressive territory than ever before. The raw intensity throughout reflects emotions and struggles that inspired the record, making it less a collection of songs and more a statement of determination and strength.
Niila Perkkiö recorded, produced and mixed all songs on the album except for “Dancing with Demons,” which was finalized with producer Dan Lancaster, known for his work with Muse, Bring Me The Horizon and Blink 182. The Finnish quartet has always displayed a knack for presenting incredibly strong and uplifting music in a genre known for emotionally misplaced bombast, and that cavalier spirit shines through alongside the sincerity and directness of their songwriting. Born out of the most difficult times the band has faced, ‘Come Hell, Come High Water’ represents Cyan Kicks at their most uncompromising, creating something they can proudly look back on decades from now knowing there’s not a single weak moment across its runtime.
Clinton Kane Returns With Vulnerable New Single “Stranger” Written In One Spontaneous Emotional Session
Clinton Kane has released “Stranger,” a stripped-back and emotionally charged new single that captures the moment someone you thought you knew becomes unrecognizable. Written in approximately 20 minutes during a spontaneous burst of emotion with songwriter Sara, the track explores the unsettling realization that someone close has always been a certain way but you’re only now seeing it clearly. The song blends raw vocals with cinematic atmosphere and quiet intensity as Kane strips everything back to the core of his artistry. Produced entirely under his own creative direction, “Stranger” feels both intimate and expansive, a cathartic listen that sits with you well after it ends.
Kane held onto this track since 2021 before deciding now was the right moment to share it. The Australian singer-songwriter has built a global audience in the millions with Platinum and Gold-certified hits like “I GUESS I’M IN LOVE” and “CHICKEN TENDIES,” earning recognition for his emotionally urgent songwriting and soul-stirring vocals. Released independently, “Stranger” continues the next chapter in Kane’s creative evolution defined by honesty and total creative control. The delicate production gives space for his voice to carry the weight of processing a complicated relationship dynamic, creating something that connects rather than prescribes how listeners should respond.
Joe Hicks Returns With “Heart In Two” And Announces Second Album ‘Before It Gets Dark’
UK musician Joe Hicks has released “Heart In Two” and revealed his second studio album ‘Before It Gets Dark’ arrives March 27, 2026. The soaring new single gradually builds toward an uplifting chorus as Joe’s crystal-clear vocals search for hope during turbulent times. Written early in the album process, the track addresses feeling low while watching everyone else seemingly live amazing lives online, exploring the mental health impact of scrolling through highlight reels and wondering about different choices. There’s defiance woven through the song too, recognizing the commitment to a chosen path and the sacrifices that come with it.
The Newbury singer-songwriter channeled immense grief into ‘Before It Gets Dark’ after dealing with his father’s death and a lengthy breakup in early 2024. With encouragement from long-time collaborator Tom Millar and producer Sam Winfield, Joe transformed those emotions into a cathartic set of songs that offer comfort to anyone navigating heavy loss. His falsetto notes hit with ease while his clean and dexterous guitar playing channels influences like John Mayer and Paul Simon. Joe has accumulated over 5 million Spotify streams and toured extensively across the UK and Europe, including appearances at CarFest, Big Feastival, and over 30 Sofar Sounds shows, plus support slots with Sam Fender, Seafret, James Walsh and Starsailor. His 2022 debut ‘The Best I Could Do at the Time’ earned BBC Radio 2 airplay and BBC Introducing’s Artist of the Week honors.
NEMO Unveils Debut Album ‘Arthouse’ With Genre-Blurring Pop Vision And Eurovision Winner “The Code
Swiss singer-songwriter NEMO has released their debut album ‘Arthouse’ via Island EMI, bringing together everything the Eurovision-winning artist represents into one dazzling collection. The album opens with “Ride My Baby,” a funky track that pulls listeners straight onto the dancefloor before moving into “God’s A Raver” with its exuberant piano hook and heavenly strings. NEMO collaborated with renowned musicians and songwriters including Jez Ashurst, Maegan Cottone, Sacha Rudy, Mia Gladstone, Liam Maye, and PomPom to craft an expertly layered blend of glam-pop, electro, and art pop.
The album spans emotional territory with tracks like “Casanova,” the driving “Eurostar” that bridges London and Paris where the record was created, and the title track “Arthouse” itself, which shifts from thoughtful ballad to blazing disco anthem. This is the kind of record that makes you want to turn it up louder and see where each song takes you next. NEMO draws inspiration from icons like Prince, Michael Jackson, David Bowie, and Björk, celebrating creative freedom and non-conformity throughout every moment.
Playful moments arrive with “Easy” and “Hocus Pocus,” the latter being a kinky love song with an infectious groove and spooky soundscape. The journey continues through “Frog Swamp” featuring Mia Gladstone, before NEMO shows their introspective side on touching break-up ballad “Black Hole” and theatrical baroque pop track “One More Shot.” The album asks central questions about identity through gentle strings and poignant falsetto vocals on “Unexplainable” before closing with “I Got High At The Party,” a psychedelic chill-out track recounting an anonymous big-city encounter.
The collection ends with “The Code,” the song that launched NEMO to global recognition through their triumphant Eurovision Song Contest victory. The track earned platinum status in Switzerland and Greece, gold in Finland, and hundreds of millions of streams worldwide. ‘Arthouse’ represents NEMO’s complete artistic vision, a space where beauty, positivity, and diversity converge without compromise or limitation.
Frank Turner Shares Chris T-T Cover From ‘The Next Ten Years’
Frank Turner today shares the latest track to be taken from The Next Ten Years, a cover of cult singer-songwriter Chris T-T’s ‘Giraffe #1’. Speaking about the recording, Frank shares: “Chris T-T was one of my biggest inspirations when I started out, and I adore his records. Over time we became friends and later touring partners – he was even in my band for a short while – but he will forever remain the older brother of the partnership. I recorded a cover of “Giraffes” many years ago and am pleased as punch to include it on “The Next Ten Years”. Playing the song with Chris himself is an honour for me, it’s such a beautiful piece of writing.”
Frank Turner has never been one to stand still, and now he’s looking back on a decade of relentless creativity with The Next Ten Years Triple Vinyl Set. Serving as the sequel to the much coveted The First Ten Years Box Set, which was released in 2015, the collection will dive deep into Frank’s vault, showcasing rare and bonus material curated by Frank himself, spanning the studio albums of 2015 to 2024 in a 3LP release. Fans will uncover everything from B-sides and live sessions from the eras of Positive Songs For Negative People, Be More Kind, No Man’s Land, and FTHC; as well as a collection of covers, radio sessions, acoustic versions and artist collaboration tracks; some previously not officially released, and many of which are here on vinyl for the first time.
The 3LP clear vinyl discs will be housed in a unique gatefold with a hinged middle sleeve, featuring die-cut panels and embossed titling on the cover. The printed inner sleeves showcase collages made from hundreds of unseen photos and tour passes, which creates slightly different varieties of the cover image through the die-cut panels, depending which inner sleeve side is placed in the first pocket. Side B of LP3 contains a reverse etching visible through the clear disc. Each sleeve will be individually inkjet numbered up to 4000, making this a true collectible.
Speaking about the release, Frank shares: “It’s been a decade since I last gathered all my non studio album music together for a proper release. Outside of my frontline albums, there’s so much more music, and I want it to be easy for everyone to find. B-sides, covers, sessions, alternative versions – it’s lovely to have it all in one place”.
Most-Streamed Songs On Spotify, Updated For January, 2026
Some songs do not just top charts. They move in. They soundtrack breakups, road trips, late nights, early mornings, and entire eras of our lives. Streaming has turned listening into history in real time, and these tracks have quietly stacked billions upon billions of plays. From modern pop dominance to timeless classics that refuse to age, this list captures the songs people keep coming back to, again and again, and again.
Here are the most streamed songs of all time, as of January, 2026
- The Weeknd, “Blinding Lights”, 5.211 billion
- Ed Sheeran, “Shape of You”, 4.708 billion
- The Weeknd and Daft Punk, “Starboy”, 4.286 billion
- The Neighbourhood, “Sweater Weather”, 4.283 billion
- Lewis Capaldi, “Someone You Loved”, 4.180 billion
- Harry Styles, “As It Was”, 4.178 billion
- Post Malone and Swae Lee, “Sunflower”, 4.072 billion
- Drake with Wizkid and Kyla, “One Dance”, 3.951 billion
- Ed Sheeran, “Perfect”, 3.773 billion
- The Kid Laroi and Justin Bieber, “Stay”, 3.761 billion
- Imagine Dragons, “Believer”, 3.699 billion
- Glass Animals, “Heat Waves”, 3.618 billion
- Billie Eilish and Khalid, “Lovely”, 3.596 billion
- The Chainsmokers and Halsey, “Closer”, 3.538 billion
- Lord Huron, “The Night We Met”, 3.519 billion
- Arctic Monkeys, “I Wanna Be Yours”, 3.518 billion
- James Arthur, “Say You Won’t Let Go”, 3.499 billion
- Coldplay, “Yellow”, 3.498 billion
- The Chainsmokers and Coldplay, “Something Just Like This”, 3.463 billion
- Vance Joy, “Riptide”, 3.435 billion
- Tom Odell, “Another Love”, 3.377 billion
- Tones and I, “Dance Monkey”, 3.372 billion
- Billie Eilish, “Birds of a Feather”, 3.354 billion
- Post Malone and 21 Savage, “Rockstar”, 3.303 billion
- Hozier, “Take Me to Church”, 3.300 billion
- Lady Gaga and Bruno Mars, “Die With A Smile”, 3.291 billion
- OneRepublic, “Counting Stars”, 3.281 billion
- Ed Sheeran, “Photograph”, 3.243 billion
- Shawn Mendes and Camila Cabello, “Señorita”, 3.207 billion
- Taylor Swift, “Cruel Summer”, 3.190 billion
- Harry Styles, “Watermelon Sugar”, 3.164 billion
- Macklemore and Ryan Lewis with Ray Dalton, “Can’t Hold Us”, 3.151 billion
- The Police, “Every Breath You Take”, 3.147 billion
- Dua Lipa, “Don’t Start Now”, 3.121 billion
- Coldplay, “Viva La Vida”, 3.119 billion
- The Weeknd, “Die for You”, 3.095 billion
- Bruno Mars, “Just the Way You Are”, 3.052 billion
- Juice Wrld, “Lucid Dreams”, 3.041 billion
- Post Malone, “Circles”, 3.039 billion
- Travis Scott and Kendrick Lamar, “Goosebumps”, 3.030 billion
- Queen, “Bohemian Rhapsody”, 3.014 billion
- Justin Bieber, “Love Yourself”, 3.013 billion
- Goo Goo Dolls, “Iris”, 2.997 billion
- Ed Sheeran, “Thinking Out Loud”, 2.990 billion
- Lady Gaga and Bradley Cooper, “Shallow”, 2.975 billion
- Bruno Mars, “Locked Out of Heaven”, 2.961 billion
- Avicii, “Wake Me Up”, 2.958 billion
- Drake, “God’s Plan”, 2.951 billion
- John Legend, “All of Me”, 2.951 billion
- Linkin Park, “In The End”, 2.948 billion
Westside Cowboy Sign To Island Imprint And Share New Single “Don’t Throw Rocks”
Westside Cowboy sign to Island Records imprint Adventure Recordings and announce their second EP So Much Country ‘Till We Get There for release on January 16th. Live favourite ‘Don’t Throw Rocks’ is out now as the first taste of this sophomore effort following its premiere on BBC 6 Music by Huw Stephens.
It was recorded with Loren Humphreys in New York, who brought the same studio magic to the quartet’s self-styled ‘Britainicana’ sound as he has for Cameron Winter’s acclaimed Heavy Metal LP (alongside credits for Arctic Monkeys, Lana Del Rey, Wunderhorse and more).
Draped in golden hour nostalgia, ‘Don’t Throw Rocks’ embeds itself under your skin right from the initial guitar twinkles, before Jimmy Murphy and Aofie Anson O’Connell’s harmonies coalesce into a lead vocal which subtly grips hold of the listener. On the origins and themes of the track, the band say:
“This started life as a fuzzy drum machine demo that Jimmy made in his bedroom and eventually made its way into the practice room ahead of our first headline at Castle Hotel.
We tried it really fast and loud, with a new order disco beat across the entire thing basically. We finished it and were like ‘ This is good, right?’… none of us were really convinced. We were about to call it when we thought we’d have one last go. We kept the tempo but took the emphasis off of the snare and hats and instead onto the floor tom and its rims. This changed the feeling of the song a lot. All of a sudden, instead the song just being this 2 minute fog horn blare, it was now rumbling along and building.
Jimmy’s lyrics on this deal a lot in time and change, and how it, more often than not, moves out of our control and without niceties. We wanted the music to reflect this too. With each section, we wanted to add a new gear, to increase the intensity until it couldn’t be held onto anymore. I guess that’s where the outro comes in. This felt like the natural first single for So Much Country…, we all kinda knew once we’d heard it back.”
Much of the group’s reputation as leaders of a vital new wave of UK bands has come from a scintillating live set – which is already establishing an immersive mythos, replete with ‘I was there’ credentials, and if-you-know-you-know moments. Packed out stages at Glastonbury, Green Man, End of The Road and more is evidence of an outfit striking at the core of the scene.
The show is being taken on the road in support of Black Country, New Road through mainland Europe in October, before a string of headline dates through the UK and Ireland in November, January and February – featuring their biggest headline show so far at London’s Scala.
Around the release of debut EP This Better Be Something Great in August the band earned no shortage of admirers – personal invites to support English Teacher, Ezra Furman, mary in the junkyard, and Blondshell matched with early press praise from the likes of The Guardian, Stereogum, Uncut, NME, DIY, DORK, So Young, The Line Of Best Fit, Clash, Rolling Stone UK, Rough Trade and Paste. The four-piece have also landed primary support from Huw Stephens, Steve Lamacq, Nick Grimshaw, Lauren Laverne, Craig Charles, Deb Grant, Nathan Shepherd, Emily Pilbeam (BBC 6 Music) and Sian Eleri and Alyx Holcombe (BBC Radio 1), Jo Whiley (BBC Radio 2), Matt Wilkinson (Apple Music), KEXP and John Kennedy (Radio X).
Westside Cowboy’s second EP So Much Country ‘Till We Get There is out via Adventure Recordings on January 16th.