Tag: indie

Spotlighting the Artists To Watch in 2024

It’s a new year, and that means it’s time to predict which artists will make their mark in 2024. Continuing our annual Artists To Watch campaign, we’ve expanded the list to feature even more artists across many more genres. 

Along with streaming data, we tapped our North American music team and editors of our playlist brands—Viva Latino (Latin), Pop Rising (pop), Hot Country (country), juniper (folk), New Noise (rock), Lorem (indie), R&B Rising (R&B), Most Necessary (hip-hop), and mint (dance)—to help select the 90 rising talents featured below. You can also find all of our picks rounded up in one convenient spot with our brand-new Artists To Watch playlist. 

You’ll find Musica Mexicana crooner Chino Pacas among Viva Latino’s picks, and introspective hitmaker Teddy Swims included in Pop Rising’s selections. Country and folk singer-songwriters MacKenzie Carpenter and Chance Peña made Hot Country and juniper’s cuts, respectively, while all-women rock band The Beaches and moody indie songstress Chappell Roan were tapped by New Noise and Lorem. Meanwhile, South African vocalist Tyla, Texas rapper That Mexican OT, and Greek electronic producer Argy were recognized by R&B Rising, Most Necessary, and mint, respectively. 

Who else should you keep an eye on in 2024? Keep reading for the full list of Artists To Watch. 

Viva Latino’s Artists To Watch

Bellakath
Chino Pacas
Dei V
Estevie
Gonzy
Jasiel Nuñez
Junior Zamora
Saiko
Xavi
Yami Safdie

Hot Country’s Artists To Watch

Anne Wilson
Dylan Gossett
Graham Barham
Lauren Watkins
Mackenzie Carpenter
Matt Schuster
Michael Warren

Owen Riegling
Sam Barber
Wyatt Flores

Pop Rising’s Artists To Watch

Aidan Bissett
Alexander Stewart
bludnymph
Emei
Isabel LaRosa
Matt Hansen
Meg Smith
METTE
SNOW WIFE
Teddy Swims

juniper’s Artists To Watch

Bo Staloch
Chance Peña
hey, nothing
Jack Van Cleaf
Kara Jackson
Mon RovÎa
Paris Paloma
Richy Mitch & The Coal Miners
Searows
Tiny Habits

New Noise’s Artists To Watch

Amira Elfeky
Destroy Boys
Jack Kays
Jhariah
julie
Scowl
Teen Jesus and the Jean Teasers
The Beaches
The Last Dinner Party
ThxSoMch

R&B Rising’s Artists To Watch

Amaria
Bellah
Chxrry22
Elmiene
Jordan Ward
Khamari
Lekan
Leon Thomas
Naomi Sharon
Tyla

mint’s Artists To Watch

Argy
BUNT.
DBN Gogo
HoneyLuv
Knock2
LP Giobbi
Mochakk
Sammy Virji
Shermanology
Uncle Waffles

Lorem’s Artists To Watch

Abby Sage
bar italia
Chappell Roan
Frost Children
Hannah Jadagu
hemlocke springs
Provoker
sign crushes motorist
waterbaby
Wisp

Most Necessary’s Artists To Watch

310babii
41
BabyDrill
BigXthaPlug
Hunxho
Lay Bankz
ODUMODUBLVCK
Skilla Baby
That Mexican OT
Veeze

Press play on our Artists To Watch playlist to discover the sounds of all the artists we’re expecting to make waves in 2024. 

Fresh Finds Alum Blondshell Loves Her Music, Even If You Don’t (But We Know You Do)

Blondshell, the solo project helmed by Sabrina Teitelbaum, is primed for the long haul—and indie fans are here for the ride. A longtime performer, Sabrina has already seen her sound change over the course of multiple projects, but the 26-year-old finally feels at home with the emotional, lyric-driven rock stylings of her latest reinvention, as well as the patience, introspection, and confidence that come with it.

After a long period of songwriting and editing, Sabrina formalized Blondshell’s June 2022 debut with the single “Olympus,” then released a scattering of singles and EPs throughout the year. Blondshell was a member of Spotify’s Fresh Finds 2022 class and released a Spotify Single as part of the program, as well as graced the presence of two Times Square billboards. The artist has gained traction among Spotify listeners—not only in Sabrina’s home city of New York and adopted city of LA, but also abroad, in London, where Blondshell has seen a 725% increase in streams since coming to Spotify. 

Sabrina debuted the project’s freshman album, Blondshell, this past April, cementing Blondshell’s rise: From June 2022 to now, Blondshell’s Spotify monthly streams have grown steadily from 300K to 1.8 million—an increase of just under 500%. 

Album and triple-digit growth aside, Sabrina has kept busy. This spring, Blondshell kicked off a European tour, utilizing tools like Spotify for Artists to learn where the project’s fans are, how much merch to bring to a show, and who’s listening. Blondshell saw a notable increase in streams in Porto after playing there, which aligns nicely with Sabrina’s hope to go back as a performer (or tourist). 

Blondshell’s growth has also been powered by Spotify’s Editorial playlists, particularly Rock This, Alt NOW, and my life is a movie, as well as sad girl starter pack, All New Indie, and Lorem. “In 2022, Fresh Finds editors playlisted over 10,000 independent artists across 30 different playlists, resulting in over 106 million user-track discoveries,” said Lizzy Szabo, Spotify Senior Editor of US Editorial. “Of artists who are added to Fresh Finds, over 60% go on to be playlisted on other editorial playlists on Spotify, which has very much been the case for Blondshell.” 

Blondshell’s “Olympus” started out on the Fresh Finds playlist, but the artist’s music has gone on to be featured on playlists like Lorem, exposing Blondshell to more listeners and new opportunities. “Blondshell is a prime example of how the Fresh Finds playlist supports the careers of up-and-coming independent artists, and it’s been truly exciting to witness her continued growth,” said Lizzy.

Fresh Finds has also gone through a transformation since featuring Blondshell. In March, we debuted Fresh Finds Live presented by Spotify Stages, where we transformed the playlist into a live experience, providing independent artists with a new opportunity to deepen their relationship with existing listeners and meet new fans. It’s the latest way we’re supporting independent artists from all genres and helping their voices be heard.

“Blondshell is a part of a wave of new artists in rock and alternative who are proving that the landscape of these genres hasn’t suddenly diversified, but that these genres have always been driven by marginalized voices and that the industry is embracing this narrative,” said Laura Ohls, Spotify Senior Editor, Rock/Alternative. 

Recently, Blondshell also released a single with Samia, and Sabrina took Blondshell back on the road for her headline tour in the U.S., which continues through August 2. For the Record had the opportunity to catch up with Sabrina from her LA home ahead of the tour. 

Spotify listeners really first got to know Blondshell when you were featured as a Fresh Finds artist. Since then, you’ve put out your first album. What was the time between like? 

There was a significant amount of time between writing the songs—not just recording them but writing the songs—and putting them out. I wrote a lot of them in 2021, and they came out kind of quickly, but then I edited for a while. The producer that I work with would say, “I feel like this bridge is actually the chorus,” or, “This needs another verse because the story is not done.” And I would respond, “Oh shit, you’re right,” and keep tweaking. 

But the whole time, I was feeling proud of the music and wanted people to hear it. So I wanted to be really thoughtful about who I worked with and how we decided to put the music out, because that was a big deal to me. I wanted to put it out in a way that felt respectful to the music. So it took a long time. 

Was there a specific song you released where you felt it really helped you to break through and reach a wider audience? 

When “Olympus” came out, I really had no idea how it was gonna go. I was putting my music out through a distributor and just hoping that somebody would listen to it. I felt confident knowing that I liked it and was proud of it, and was hoping that people would listen to it, because I wanted to make music as a job. I sent it to all my friends, and I was surprised by how many people I knew were posting it—in a good way.

But then when “Kiss City” came out, people outside of my network of friends were posting about it. That felt like a big day—July 20, 2022—because that’s when I played my first show as Blondshell. I hadn’t played a show in a while, but I was proud of how the show went. It’s almost been a year, but it felt like yesterday. And since then, I’ve been making music full time. 

After gaining that initial wave of momentum, what were some of the next big milestones?

When I put “Veronica Mars” out, that felt like a big thing because it wasn’t just me and my manager anymore; we had a bigger team at that point. Leading up to that single, I had signed to Partisan, and that was the first release I put out with them. So it felt like I had a lot of support because I was working with a bunch of people who all had the same goal. Then I got to play in New York for the first time—that was a big deal. 

Playing my own shows was another big moment. I’ve opened for people a lot in the past, and now I get to play my own shows. I did it in Europe earlier this year, and now I’m about to go on my headlining U.S. tour. 

What has been your biggest hurdle or challenge so far?

Touring is hard. It’s hard not to sleep in your bed, be around your people, and cook. But I think it’s also been a challenge getting my head around questions like, “What do I want? What would I be satisfied with?” We’re in a numbers world and it’s everywhere. For artists it’s easy to be like, “I would be so happy if a hundred people came to my show.” And then a hundred people go to your show and you’re like, “Well, I would really be happy if 200 people came to my show.” Or you can do that with, like, TikTok numbers, followers, anything, and we’re just surrounded by that stuff. 

It’s been a challenge for me to step back and be like, “What are the metrics that I actually care about and what would I be satisfied with?” I’m trying to focus more on, “Did I feel a connection with people at that show? Was I able to be myself and let my personality come through? Or was I kind of ego-driven and in my head about how this is coming off?” 

Is there any advice you would give your past self? 

When you’re 20 or 25 you want to get out there and make your music and play your shows. There’s this pressure. There’s this time thing. “I need to get it done, I need to get it out and need to get people listening to it.” If someone had just told me, “It’s okay, just take your time,” I think that would have been really helpful for me, if I had been able to take it in.

It was really important for me to take my time and get to a place where I felt confident enough where even if people didn’t listen, I’d still feel proud of it. The way I feel about the music isn’t shaped by the response. I want to sit with it for a while and have a strong enough connection with my own music.

Stream Blondshell’s inaugural album on Spotify.

The Marias, Hannah Jadagu, glaive, and Cuco Have Made Lorem Their Musical Home—And So Have Their Fans

Spotify’s indie editors created Lorem five years ago to be a metaphorical “placeholder” for the artists who would go on to influence the future of music. Since then, the alt-pop playlist has written its way into the headphones of its young listeners, becoming Spotify’s home for Gen Z bedroom and indie-pop fans around the U.S. and beyond. The playlist now has one of the highest save rates on Spotify. 

Listeners flock to Lorem for its raw, unpolished collection of burgeoning stars who write music not to fit into a particular genre but to capture even a fleeting feeling. The vibe of the playlist changes constantly, but not chaotically. It reflects the culture, the places, and the headspaces that both artists and their fans come from.

“Lorem is meant for the artists who didn’t quite fit into mainstream pop but who we knew would end up shaping what we know now to be popular,” said Lizzy Szabo, Senior Editor for Indie Music at Spotify. 

“Back when we started the list, artists like BENEE, Conan Gray, Clairo, girl in red, and Dominic Fike were grouped in the bedroom pop category but all ended up making their way to Today’s Top Hits,” she shared. “So, before it was common practice, we’d add tracks that were starting to have viral moments—those you’d hear on TV shows, or random catalog tracks we knew the audience would love to rediscover or hear for the first time—alongside artists we’d find via social media, our submissions portal, or recommendations from blogs and artists.” 

Though the list’s sound has shifted over the years, it still follows artists along their journeys, throughout their progress, hits, and explorations. “We will continue to curate them alongside even more developing artists, and playful throwbacks,” said Lizzy.

Take some of the artists currently featured on Lorem, including glaive, Cuco, and Hannah Jadagu. When asked to describe their music, the only thing each of the Lorem-playlisted artists had in common was the flexibility of their categorization.

The Crossover Effect: Artist Collaborations Thrive on Spotify

The crossover collaboration is one of music’s great traditions. When artists from different genres, regions, or simply different career stages bring their talents together on a track, it’s sure to capture fan attention. It can even breathe new life into a song or group. 

When Run-D.M.C. linked up with Aerosmith in the ’80s to reimagine the latter’s single “Walk This Way,” it resulted in an international smash hit. It also helped birth the rap rock subgenre and still stands as Run-D.M.C.’s biggest hit. Decades after its release, the song has racked up hundreds of millions of streams on Spotify to date.

More recently, we’ve seen major crossover collaboration moments from the likes of SZA and Phoebe Bridgers on “Ghost in the Machine,” PinkPantheress and Ice Spice on “Boy’s a Liar Pt. 2,” and Taylor Swift and The National on “The Alcott.” 

While these collaborations offer new avenues for creative exploration, they also bring together each artist’s distinct fan bases, providing an opportunity for everyone involved to expand their audiences.

“I think one of the biggest things is how music collaborations can connect genres,” explains John Stein, Spotify’s North America Head of Editorial. “We see a lot more of these collaborations, and I think each artist’s core audience seems to be more open to these moments than in the past.”

It’s easy to see why artists love this approach, but how do fans respond? Are they listening more on Spotify when they discover a new artist on one of these songs? 

We took a look at more than 40 of the biggest crossover collaborations from the last 12 years and found that six months after the collab was released, 75% of artists involved saw an increase of at least 10% in overall Spotify streams across their catalogs compared to the six months prior. More than 50% of those same artists saw their number of streams grow by at least 50% in that same time period, while 30% saw their number of streams rise by at least 100%.

And while many of these collaborations are well received, some of them have been very well received.

There are few examples that paint this picture more clearly than Lil Nas X and Billy Ray Cyrus uniting on “Old Town Road – Remix.” In the six months following the song’s release, the increase in shared listeners between the two artists skyrocketed by nearly 390,000%.

For further proof, you can also look back to 2017, when Latin music icon Luis Fonsi joined forces with reggaeton godfather Daddy Yankee on “Despacito.” The song quickly caught on with fans around the world, but its popularity went into overdrive and the song became an inescapable tour de force when Justin Bieber hopped on the “Despacito (Remix)” three months later.

Luis in particular saw his fame reach unforeseen heights, and in the six months following the release of the original version, streams of Luis Fonsi on Spotify jumped by more than 2,600% (compared to the six months prior). 

But it was the remix, specifically, that helped to expand the Puerto Rican singer’s reach in English-speaking markets. Spotify streams of Luis Fonsi in the U.S., U.K., and Canada combined spiked by more than 4,300% in the six months following the release of “Despacito,” with most of that increase coming after the remix dropped. 

“When the ‘Despacito’ remix came out, it felt like a huge and rare moment to have artists from such different backgrounds and genre spaces collaborate and experience such success,” John says. “Now it feels like it happens all the time, and there’s almost a level of expectation that artists are going to mix it up and work with artists from different spaces. And I think we see that reflected in the data on the platform and in the reaction on our playlists.”

Such is the case with Nigerian afropop star Rema and American pop star Selena Gomez, who created a cross-continental connection on the 2022 hit “Calm Down.” 

“When Rema dropped the solo version of ‘Calm Down’ last year, it was doing really well in terms of streams, especially in Africa,” John explains. “Then, at the exact right moment, Rema teamed up with Selena Gomez on a new version of the track.”

In the six months following the collaboration’s release, daily Spotify streams of Rema in North America increased by more than 230% compared to the six months prior. Meanwhile, daily Spotify streams of Selena Gomez in sub-Saharan Africa increased by more than 120% in that same time period.

“With Selena being such a big pop star globally, I think the song reached an audience that checked it out to see what Selena was doing,” John says. “But they kept coming back because it was such a good song.”

And much like Lil Nas X and Billy Ray Cyrus, the respective fan bases of Rema and Selena Gomez started to merge together. In the six months following the release of “Calm Down,” the number of fans who listened to both artists increased by over 600%.

A springboard to success

For emerging artists, the crossover effect can help them break through in previously untapped markets, or help them define their musical identity on their own terms.

When Khalid had his breakthrough moment with his 2016 hit single “Location,” he was often labeled as an R&B artist. But after his 2017 collaboration with Alina Baraz—an artist who floats between the lines of pop, R&B, and electronic—on “Electric,” Khalid flashed his potential to be a pop star in the broadest possible sense.

And, like Luis Fonsi, Khalid is another artist who benefitted from the crossover effect. Following the release of “Electric,” streams of Khalid on Spotify spiked by more than 3,100% in the six months following its release (compared to the prior six months).

Building on the momentum of “Electric,” Khalid showcased his versatility as he hopped between genres on a number of high-profile collaborations. At every turn, the singer won over new fans, appearing alongside Alessia Cara on Logic’s “1-800-273-8255” and connecting with EDM producer Marshmello on “Silence.” To date, both songs have been streamed more than a billion times on Spotify.

“The editorial team used to have a lot of conversations about Khalid, and the general consensus was, ‘Wow, he is on everything,’” John reflects. “He has a really unique voice that brings a special quality to songs, so it makes sense in a lot of ways that he was finding success with those collaborations.”

Khalid’s fruitful run even included an appearance on Billie Eilish’s 2018 chart-topping juggernaut “lovely,” which has been streamed more than 2 billion times and remains his most successful song to date.

Amplifying crossover collaborations

In the streaming era, fans’ access to music isn’t limited by what’s on the radio or TV, or by what’s available at the record shop. With a few taps of the screen, fans have instant access to the catalogs of millions of artists.

So when a collaboration comes along that catches the ear of listeners, there are a variety of features on Spotify that both enhance the discovery process for fans and help expand the reach of those songs even further.

Many Spotify fans often start with search. And when they discover a new artist through a crossover collab, we’ve noticed a sizable jump in searches for that artist. 

When Grupo Frontera collaborated with Bad Bunny on “un x100to,” the star power of Spotify’s three-time most-streamed artist confirmed Música Mexicana’s status as an explosive genre on the rise.

In the two weeks that followed the release, daily Spotify searches for the Mexican sextet surged by more than 330% compared to the two weeks prior. At their peak, searches for Grupo Frontera increased by more than 1,100%.

The National experienced a similar bump from their collaboration with Taylor Swift, with Spotify searches increasing by more than 1,500% on the day of release.

For Spotify’s global team of editors, successful crossover collaborations also offer up a valuable signal that helps guide their curation of playlists. Every week, our editorial team sits down and discusses the latest cultural movements in the regions and genres they focus on. When a crossover collaboration starts to make waves, it can encourage editors to feature them in playlists they might not have appeared on before. 

“I know among our indie-focused editors, there was a discussion of the SZA and Phoebe Bridgers single and whether or not it was an indie track,” John explains. “While SZA might primarily be a pop or R&B artist, our editors overwhelmingly felt that it was an indie song, and having Phoebe on ‘Ghost In The Machine’ helped her open the door to Spotify’s core indie audience.”

Crossover collaborations can also appear on personalized playlists like Release Radar and Discover Weekly if a Spotify listener follows or regularly listens to one of the artists involved. When that happens, fans can easily discover the other artists.

“I think in the case of Ice Spice and PinkPantheress—with one being a rapper from New York and the other being a British artist who makes dance-oriented music—Release Radar has helped them both reach each other’s core audiences across genres and regions,” John says. “These types of collaborations can make listeners more open to checking out a new artist if they like what they hear.”

Spotify for Artists’ Fan Study has previously revealed that artists see their international reach increase significantly when they collaborate with someone outside of their home market. And we found the same to be true for Ice Spice and PinkPantheress. In the three months that followed the release of “Boy’s a Liar Pt. 2,” daily Spotify streams of PinkPantheress grew by nearly 250% in the U.S. (compared to the six months prior). Ice Spice, meanwhile, had a breakthrough moment in the U.K., with daily Spotify streams of her songs rising by nearly 1,400%. At the peak, daily streams for PinkPantheress and Ice Spice soared by more than 400% and 1,900% in the U.S. and U.K., respectively.

Taken altogether, the numbers on display here tell a powerful story about the crossover effect. This insight is invaluable, suggesting that the cross-cultural exchanges and expression of fresh ideas can lead not only to globe-expanding visibility, but the opportunity to forge new career paths. As the songs grow, so do the artists.

Streaming Helped Eloise Land a Room of Her Own

U.K.-based indie artist Eloise doesn’t have a standard songwriting routine. Rather, she writes when inspiration strikes. “It’s annoyingly variable,” she admits. “I’ll be out with friends having the best time ever, and then I’ll be like, oh no, I’ve got to leave now. I have to go and flesh this idea out.” When ideas for her recent low-fi R&B-inspired singles “Therapist” and “Drunk On a Flight” came to her in the middle of the night, the 23-year-old songwriter had no choice but to oblige. 

Eloise began taking piano lessons at age four and started writing songs at age eight. As a child, she wanted to be in musical theater, telling For the Record that “music ended up being the very clear thing that came super naturally to me.” In 2019 she put out her first EP, This Thing Called Living, and began to see those times she left her friends early start to pay off.

Was there a moment you realized that your work was being heard?

I built up a lot of stuff before I put music out. And by touring, I built up a lot of listeners who were ready to listen to what I released, which is such a powerful thing to do. But I think the moment for me was probably just before COVID-19. Billie Eilish had mentioned my music in different interviews, and especially “Left Side.” I just saw my streams drastically go up. And that was just such an important moment in my career, basically, because not only was it validating, but that’s also a song that’s quite niche—it hasn’t got a chorus. It’s really nice for that one to have been found. And it was the beginning of, like, this ball rolling, basically, with everything I do translating into streaming land. The magic. 

I also remember getting on the Our Generation playlist for the first time. That was one that felt very cool because at the start, it was quite hard to be placed because I was very much going into a way more jazzy vibe, or a coffee shop vibe. When I first was on Our Generation, I thought, “Oh, I’m in the cool person playlist—young people listen to this. And not just in the background, but intentionally, on their car journeys and stuff.” So that was a really nice moment. But any time I’m on New Music Friday, that’s always brilliant—just a real thrill every single time. It’s quite nice to be supported. And it just spreads the word so well, better than you can, at the end of the day.

Image credit: Charlotte Patmore

And that moment continued to build. What happened next?

It’s funny because soon after that, we all went into lockdown. And to be honest, I felt like I lost the trajectory that I had before COVID-19. For all of us who were developing at that time, everyone’s success lost momentum, really, in that two-year period. So I spent that time just writing a mini-record.

And then I put it out in 2021 after not having put out music for a few years, and it was just incredible. The people were still there! That’s kind of a move you can’t do unless you’re famous and people will still be waiting for you. But people had been waiting that whole time. People clicked that little follow button and just kept it going. 

It’s funny because my streams are always growing—they’re almost linear, which is a really nice and rare thing, but they’ve never spiked and then dropped off. It’s a very slow climb, but it keeps climbing. So during that time, I definitely built a wider audience; there are more people who joined the fam. 

As your career has taken off, what’s changed in your life? 

Well, I mean, I moved out. I lived with my friends, which in itself, you know, I couldn’t have done before. I moved into a really lovely house with my friends in the part of London we’d always daydreamed about living in when we were kids. 

And then not only that, but then I eventually got to move into a flat by myself. 

And those two things happening have been monumental. I have so much freedom and space to make music and to find my sanity. What a journey you go through when you live by yourself. It’s been incredible. I’m in a building where I can make a racket the whole time. I can get up at four in the morning and have an idea and write it down. That’s why all of the songs on my upcoming album are literally “four AM songs”—songs that I was able to just, like, play in my space without waking anyone up.

Can you share some of the hurdles you’ve experienced in your career? 

When you’re someone like me, there’s a weird relationship you have with your job because in order for you to be successful and make enough money to live and live a lovely life, you have to be willing to give some things up. I’m such a homebody; I’m such a pub-with-my-friends person. But starting when I was 17, I was on the road for basically three years. So I definitely put this real value on my home life. And you know, this industry is not about your home life. 

It was also really hard to get people on board with the fact that I was independent. For me, it was the most exciting thing ever because the way my manager would answer my concerns of “I don’t want to give too much up” was brilliant. He was like, “This is what we do. We just do it on our own terms. If it does well, it does well, and then that’s great. And the word will spread.” 

All this was a massive risk, and I’m super lucky that it paid off. But the reason I can live the way I do, and by myself in London, is because I released that music independently and made that money for me from the songs I wrote from the streams that I got. It feels like the way it should be, like, super, organic, and lovely. 

Image credit: Charlotte Patmore

Any dream collaborations?

I kind of love to do stuff with people who are way cooler than me—like Anderson.Paak. I’d love to do a soul song with him. Probably stuff that is different from what I do. If I’m going to go and challenge myself by doing a collaborative project, I’d love for it to be challenging on all fronts.  

How have your fans reacted as you’ve put out more music? 

When I eventually went to record my EP, the thing that people said—which is how I feel with any of my favorite artists—was, “I’m so proud there’s more of you, that there’s more to know of your music.” And I think people feel like I’ve let them in on the secrets in my music. They also have this feeling that they know me and that they get to hold a piece of me. They know where I am musically in my life, and it’s such a lovely, shared experience. And the people who listen to my music are so gorgeous. They’re such lovely, lovely, lovely people, and they share my music all the time. That never slows down—it’s really nice.

Watch other rising artists and discover how they made it using Spotify tools on Spotify for Artists.

The State of Indie Music, According to Spotify’s Editors

One of the characteristics that gives indie its wide-ranging appeal is its ability to embrace a variety of sounds, moods, and geographies in ways that few other genres can. This overlap of influences is not lost on Spotify’s global team of indie music editors, responsible for playlists such as All New Indie, Lorem, and Oblique. Though these three playlists have three unique moods, each is very much rooted in indie.

Groups of Spotify editors make up our Global Curation Groups, or GCGs. As the name suggests, they sit in offices around the world and are in the know on the artists that listeners are streaming the most, the new tracks that are about to break, and the trends that come out of these listening habits. Plus, they’re genre experts—as well as fans themselves—who thrive on deep cultural discussions about the music they curate. 

Which is why For the Record spoke to the indie GCG editors to get a sense of what’s hot in 2022 and what to expect going forward. Here’s what we heard.

A new sound for a new generation

Indie has dramatically expanded its horizons in recent years, according to our editors. Sonically, indie is pulling inspiration from electronic, pop, and hip-hop more than ever, from a wildly diverse group of artists. And geographically, indie’s increasing global popularity has led to the genre being infused with a diverse array of regional sounds.

This cross of so many different genres and cultures has led to it functioning as a springboard for exciting new creators who pop up in playlists like Modern Alternative.

One rising star in particular is RADAR artist Arlo Parks, who is also nominated for two Grammys in 2022. Drawing from a variety of influences, including folk, disco, and trip-hop, her music offers a window into growing up Black in London.

Artists who defy convention

Thanks to the rising influence of Gen Z, the genre is also being pushed forward by a community-driven mindset that values collaboration and experimentation. For proof, look no further than PinkPantheress, another RADAR artist who skyrocketed from social media buzz to bona fide pop stardom in 2021. Her ability to seamlessly meld dance and pop sounds into something all her own led one editor to describe her as a “genre chameleon.” PinkPantheress’ genre-bending sensibility aligns with that of artists like Grimes, who coined the term Ethereal to describe her own unique sound. It also inspired Spotify’s editors to create the Ethereal playlist, which explores the different ways rock, pop, and electronic intersect.

The indie community is also drawn to those artists who defy convention at every twist and turn. That includes Shamir, whose influences can jump between house, country, and industrial, and whose music often touches on gender, sexuality, and their experience as a Black, non-binary individual.

But more than indie just pulling inspiration from other genres, a lot of its versatility comes from the stylistic approaches of artists. While Caroline Polachek blurs the lines between indie and Top 40 pop, an artist such as Mitski often takes a more conceptual approach to her songs, with lyrics that have a theatrical vibe to them.

Global fans, local influences

This variety serves as a driving force behind playlists such as POLLEN, which provides a snapshot of the many different ways indie artists are playing between the lines. Our editors say that indie is less about a specific sound or location, and more about a feeling that fans identify with—but that doesn’t mean indie lacks a sense of place.

For indie artists around the globe, the local sounds still serve as an important influence. Belarus’s Molchat Doma rode the hype around post-punk and synthwave inspired by the ’80s, which is captured in a new playlist called Insomnia. Colombia’s Bomba Estéreo, meanwhile, merges electro and cumbia with indie to create an unmistakably tropical sound. Including artists such as Mdou Moctar and Altin Gün, the playlist Folk Fabrique encapsulates  indie’s mix of traditional sounds from across the globe. 

Our editors expect indie will continue to become more representative of the different sounds and perspectives that are bubbling up from emerging artists. But at the same time, they believe that indie is getting back to its roots and embracing the underground, nonconformist mentality that gave birth to the genre. Instead of big-budget productions, we expect artists to embrace more of the lo-fi, DIY sounds that we’ve heard in eras past.

Perhaps, going forward, artists will get more of the spotlight they deserve because the emphasis will be put on the music—and not the production values.

Want to discover even more of the voices taking over indie in 2022? Be sure to check out some of our editors’ picks for the hottest playlists: Outliers, not just a phase, and melomania.

 

Get a Taste of the Trending Genres in Pakistan, Bangladesh, and Sri Lanka

Ninety days ago, we announced that we were launching in three new markets in South Asia: Pakistan, Bangladesh, and Sri Lanka. Since then, listeners in the region have explored Spotify and a world of music now at their fingertips. 

We were particularly excited to see what homegrown genres and artists were gaining popularity and traction in each country. So we picked out one playlist per market based on what’s been trending most to give listeners around the world a taste. 

Pakistan – Pakistani Indie 101



Traditional Pakistani music includes instruments like sitar, rubab, and flute, and falls into genres like qawwali, rock, and Sufi. Modern Pakistani musicians, who are extremely diverse in their creations, have combined those traditional elements with contemporary ones, leading to a new crop of musicians that can only be described as indie. 

Pakistani Indie 101 is a compilation of the best of new-era Pakistani Indie musicians, producing indie-pop, fusion house, hip-hop, retro-wave, sufi, classical, progressive math pop-rock, and more. Some of the key creators include Hassan Raheem, Shamoon Ismail, Abdullah Siddiqui, Arooh Aftab, Bayaan, Zahra Paracha

Bangladesh – Bangla Rock

Rock is one of the top-performing genres in Bangladesh—even more than pop. (In Bangladesh, you might say that rock is the new pop.) This means listeners can easily explore rock subgenres including heavy metal, folk rock, soft rock, thrash metal, and alt rock. 

Bangla Rock focuses on the best rock music coming out of Bangladesh. It features creators like Artcell, Nemesis, Warfaze, and Black, who create music across rock’s many subgenres. 

Sri Lanka – Sinhala Pop

Unlike Bangladesh, Sri Lanka is still big into the top trending artists and songs. However, pop in Sri Lanka differs from that of other regions: A large number of songs in the genre open with a soulful, ballad-like quality. Piano is a key instrument. By the chorus, however, some of these songs change in tempo and tone, infusing catchy drum beats and underlying synth beats. 

Sinhala Pop is one of the top playlists in the region. (Sinhala is one of the two languages spoken most in the country). Up-and-coming artists like Yohani and Hiyum, in addition to longer-time favorites Ridma Weerawardena and Raj Thillaiyampalam, all have hits on this playlist.

Dive into the top genres of South Asia with Pakistani Indie 101, Bangla Rock, and Sinhala Pop.

Spotify’s Emerging Artists Program, RADAR, Kicks Off in Russia

Last year Spotify launched RADAR, our emerging artist program that spotlights rising talent from around the globe. RADAR’s goal is to help up-and-coming artists in all stages of their development as they connect with new audiences. Now, after working with creators in the U.S., New Zealand, Spain, and many other markets, the program is ready to launch in Russia.

Since Spotify’s launch in Russia in 2020, we’ve seen tremendous success with subscriber growth and service adoption. According to our 2020 Q3 results, Russia has been our most successful new market launch to date and represented the largest portion of subscriber outperformance for the quarter. 

With RADAR, we will amplify emerging artists in the region through ongoing marketing and editorial support. Artists will be featured in the local creative marketing campaigns, and their tracks will be added to the RADAR RUSSIA playlist in the global RADAR hub, helping fans from all over the world discover their music. For the Record had the opportunity to chat with two bands that are a part of Russia’s RADAR program.

Сёстры (pronounced “sestry,” translation: Sisters) is an indie pop duo that debuted their first album, Когда были волны (When There Were Waves), in October of 2020. The group has already seen success, including having recently performed on a popular Russian late-night talk show.

Три дня дождя (pronounced “tri dnia dozhdia,” translation: Three Days of Rain) is an alternative band that released their first album in February of last year. Their most popular track, “Не киряй,” has racked up more than 4.5 million streams on Spotify.

Read what the bands had to say about their music, their experience, and more below.

What are you looking forward to as a Spotify Russian RADAR artist?

Сестры: We have been watching the RADAR program for a long time now, as it’s helped us discover many talented foreign artists, and it is very unlikely we would have discovered them without it. Now, through RADAR, it’s amazing that many more listeners will learn about us—our tracks will become a part of Spotify’s global ecosystem, and our songs will be heard by many people all over the world. We are just at the beginning of getting to know our audience, and it is so important for us to develop strong relations with our fans. 

Три дня дождя: We have big plans and ambitions going forward, and we hope the support of Spotify can help us with establishing our name not only in Russia but also abroad. We are honored to have been chosen as one of the first artists to take part in the program in the country. Russian rock is not dead and we’d love to prove it! We are hopeful that RADAR can help us bring our art to the new audiences.

What advice do you have for fellow emerging artists?

Сестры: Trust yourself and your vision, work hard, and carry on no matter what.

Три дня дождя: First of all, don’t ever give up. Ever! And practice as often as possible. Secondly, try to minimize all factors that restrain you from doing what you love. Lastly, always believe in yourself and your art.

What message do you want people to take from your music?

Три дня дождя: With my music I’d love to convey the emotions everyone is familiar with. And about showing the listeners that love can be a very dangerous thing at times. 

This past year presented many unprecedented challenges. How has it changed the way you approach your musical career?

Сестры: 2020 is exactly the year when our music career began developing. The music industry turned to online, but it somehow brought us all even closer together. We are definitely looking forward to the day when live concerts and performances become possible again, but our approach to our music career has not changed a bit. We will continue gathering at home or at the studio to make new music together.

 

Ready to give these Russian artists a listen? Check out the new RADAR Russia playlist below.

Caribou’s Dan Snaith on New Music, Discovery, and Spotify’s Altar Playlist

Many electronic producers double as DJs, and most DJs also produce, but Dan Snaith is more versatile than most. Since 2001, the music he makes as Caribou has set a high standard for melodic, propulsive, sonically adventurous indie dance. Then there’s Caribou the live act, which expands Snaith’s studio material for a full band—not just interpreting the songs, but radically transforming them. Finally, Snaith moonlights as Daphni, turning out sleek funk and disco edits for his famously wide-ranging DJ sets.

The sweep of Snaith’s output, spanning home-listening faves and underground club heaters alike, makes him a fitting figure to spotlight as Spotify relaunches its Altar playlist. Dedicated to alternative electronic music and club culture —spanning house, bass, techno, downtempo, and just about every conceivable permutation thereof—Altar reflects the kinds of sounds that Snaith spent nearly 20 years pioneering.

This February, Snaith will release Suddenly, the first new Caribou album in more than five years. The first single, “Home,” dropped in October, and the second single, “You and I,” earlier this month. When For the Record reached Dan Snaith at his studio in London, he was working on preparations for the band’s upcoming tour. “It’s all starting to become real,” he said. “It’s been so long that I’m just so excited to get it going again.”

We spoke with Snaith about his creative process, his upcoming album, and the state of electronic music right now.

“Home,” the first single from the forthcoming Caribou album, almost sounds like it could be a Daphni song. How do those two projects inform each other?

There are definitely some Caribou tracks that almost could have been Daphni tracks, like “Bowls” on Swim or “Mars” on Our Love. It’s kind of magnetic: Sometimes there’s an attraction; sometimes it’s the opposite. After the Daphni album in 2017 was when I really started making this new Caribou record in earnest. It was like, okay, now I can have more all-encompassing tracks that explore harmony or lyrics, whereas Daphni is specifically about making music that’s club-focused. “Home” kind of sits apart from a lot of the other stuff on the record, actually. There are things that are reminiscent of Daphni, but I think there’s a lot that’s quite far away from that world as well. 

With Caribou, are you gathering pieces of songs before you actually sit down to make the album in earnest, or are you starting from scratch?

I’m gathering pieces all the time. I’ll have a verse for a year and then eventually I come up with a chorus, or some switch gets flipped and another piece of the song comes together. There are some loops on the new record that existed even before Our Love was finished. I sit down in the studio every day and I make four or five 30-second-long loops, little ideas. So if you think about how long I’ve been making this record, now I’ve got a playlist with 900 ideas in it. Then it’s this editing process, funneling things down over a long period of time, to get minutes of music out of hours and hours and hours of stuff. Which sounds torturous, and sometimes it is, but that’s the thing that I most enjoy, starting from nothing and making some kind of idea. 

Let’s talk about the state of electronic music. What sounds are you particularly excited about right now?

When I started in the early 2000s, the idea of somebody in experimental electronic music working on a Timbaland or a Neptunes record seemed totally absurd. Currently, there’s a much closer connection between experimental electronic music and the mainstream. It’s kind of hard to draw a boundary anymore. Now everything is electronic music, in a technical sense. Everybody’s recording on the same tools, whether you’re making a Taylor Swift record or a Skee Mask record.

That said, there have been times when I felt like I understood where the momentum in the electronic music world was. In 2008, 2009, living in London, meeting people like Floating Points, Joy Orbison, the Hessle Audio guys, it was like, wow, there’s something really exciting and focused happening. It was easy to feed off that energy. Now, it doesn’t feel like there’s a central narrative, but what’s exciting about what’s happening is that there are many more diverse voices in electronic music than there used to be 10 or 15 years ago. 

It’s been a while since any significant new genres have emerged. Do you sense anything new on the horizon?

When I was in high school, I heard jungle for the first time, and I couldn’t even wrap my head around it. I haven’t had that shock-of-the-new feeling for a long time. I hear individual producers with new ideas, but not something so completely new as a genre that it allows for a whole world to jump out of it. Presumably that will happen again. 

It sometimes seems like there’s so much electronic music out there now that there isn’t the chance for consensus to build.

I feel like people are waiting for it. Everybody is talking about what a big tune that Overmono track “Le Tigre” is. Now that the Caribou album is done, I’m excited to get out there and be playing, but I’m also sneakily going to start thinking about making club music again, because I’ll be out there doing shows, maybe I’ll play at the occasional after-party. It’s moments like that that get me geared up like, “Okay, I gotta make something that, like, bangs in a club.”

You’ve been around since the days of actual physical crate-digging in record stores, and a lot of the music you make as Daphni is rooted in sampling rarities. How has streaming changed the way you discover music?

I think I’ve learned about more new and exciting music digitally than I did when I was mostly digging through dusty piles of records, although I think there’s still room for both things. As a music fan, how can it not be wonderful that the entire history of recorded music is available to everybody at all times? As somebody who grew up in small-town Canada finding it difficult to get my hands on records, I’ve met young people over the past decade or so that have a remarkably eclectic and encyclopedic knowledge of music and music history. If they want to learn it, it’s all available to them. 

You know, I’ve got this 1,000-plus-song playlist called “The Longest Mixtape.” Apart from my own music, the one thing that I have to share with people is that I’ve spent my whole life digging, finding obscure and popular music that for me has something special about it, some magic. And I thought, if I could put all those things in one place for people to listen to, this is something that’s possible now and was never possible before.

Are you a fan of Altar? 

Yeah! With a playlist like Altar, you go there knowing it represents a certain type of music that you’re interested in and discover things you don’t know. I also like the fact that it’s occasionally curated by other people. You look at it and see, oh, Peggy Gou or somebody has picked a bunch of stuff that she’s into at the moment. That idea of having guest curators seems like a really interesting way of sharing people’s personal tastes within a palette where you know roughly what to expect.

Is there anything that you want to say about your album?

I’m just so excited for people to hear this album in full. People have heard the first two singles, but I feel like it’s a real album album. There’s so much diverse stuff sitting there together that I hope coheres in a kind of narrative throughout. It’s something I’ve lived with for so long. Actually, the other day, a friend of mine came over, and I’ve listened to it a zillion times, obviously, but he was like, “Can I just listen to it the whole way through?” I was like, Okay, here goes, I gotta listen to this one more time. And it was the first time that I heard it as a listener. You know, you get so wrapped up in the details, like, the minutiae of mixing and mastering. I hadn’t listened to it for a month or so. And I sat down and listened to it with him, and it was reassuring. I thought, this is something that I can be proud of.

Check out Caribou’s latest single, “You and I,” on Altar.

How Spotify Helped Cigarettes After Sex Amass an International Audience

During the release week for their second full-length album, Cry, moody indie-rockers Cigarettes After Sex appeared on more than thirty New Music Friday playlists from different regions of the world. That kind of reach is exemplary of the Brooklyn band, who have a massive fan base outside of the U.S., particularly in Eastern Europe, Latin America, South America, and Asia.

“There’s definitely a theme with Cigarettes After Sex, at every level of their business and their story, that is very much about what we’ve been calling the global footprint,” says Jeff Bell, general manager of international at the band’s label, Partisan Records. 

Much of that has to do with Cigarettes After Sex’s robust touring schedule. The band recently played in Seoul, South Korea—their third show in the city in twelve months—and have a 5,000-capacity headliner scheduled there for summer 2020. That concert came on the heels of multiple shows in South America, as well as gigs in Indonesia, Kuala Lumpur, and India; Cigarettes After Sex’s 2019-2020 Europe and U.K. tour has multiple shows sold out in advance. 

Cigarettes After Sex discovered they were developing fanbases in some of these territories thanks to Spotify streaming data. Accordingly, Partisan Records’ promotion for Cry was tailored toward these individual markets. Bell says they’re working with “upwards of forty different” marketing and promotions teams “totaling a hundred-plus territories, to make sure that we’re getting local language assets for ads on Spotify, be it audio or graphics.” Cigarettes After Sex has also had great success partnering with Spotify for fans-first concert ticket access, Bell adds.

“What Spotify has done has created access for fans in all these territories,” he says. “It’s been our job as a label to provide visibility next to that access.”

As for the band’s first EP, 2012’s I., Cigarettes After Sex frontman Greg Gonzalez says it took off the old-fashioned way. “Everybody was telling their friends about it, and that’s the way it was spreading. At that time, we weren’t doing any marketing; we were just lucky enough to have gotten noticed and get attention.” Gonzalez admits this sudden virality was jarring: “We immediately hit a wall. It’s like, ‘Okay, how do we get our music everywhere now?'”

The band decided that setting up a Spotify account would be the easiest, quickest route to achieve this goal. After Cigarettes After Sex uploaded its music on the platform, the global scope of their fanbase came into focus. “We noticed this crazy wildfire that was spreading worldwide, expanding into places that we never thought necessarily we’d be popular,” Gonzalez says. “It was so unexpected. That was the start of it—it was just like this spark that kept going and going.” When Cigarettes After Sex signed to Partisan Records, both parties decided to build on this momentum by keeping the promotion low-key and personal, preserving what Gonzalez characterizes as a “homegrown, organic” approach.

This low-key approach may have also had a hand in helping the band develop loyal fans across the platform. Although recent singles landed on two popular Spotify playlists with more than two million subscribers each—”Falling In Love” appeared on It’s a Hit and “Heavenly” surfaced on The Most Beautiful Songs in The World—Partisan Records’ global director of DSP strategy Sara Dempsey says “fan engagement” is driving the band’s streaming numbers. In fact, she shared that over thirty-three percent of Cigarettes After Sex’s listens are from from Spotify users’ own playlists and library.

“It’s a really personal relationship that they have with a lot of their fans,” Dempsey says. “A lot of their fans translate the lyrics into multiple languages and look for stories there. It’s a very personal, romantic story of falling in love and heartbreak, and lust and romance, that is really universal… .I think people might spend time alone listening to this band and feel like it’s their personal, special thing.”

Since the release of Cry, Cigarettes After Sex’s momentum has continued to snowball; the band is now closing in on 4.5 million monthly listeners on Spotify. They’re also continuing to find success in new territories. Within a month of Spotify’s February 2019 launch in India, the country leapt into Cigarettes After Sex’s top ten markets. This popularity translated offline: In May, when the band announced two late-July Mumbai shows via a local promoter’s mailing list, they drew 30,000 sign-ups within just a few hours, causing the list to shut down. “Now the next headline show [there] is looking like a 8,000-person outdoor gig next summer,” Bell says.

Listen to Cigarettes After Sex and discover why so many people are gravitating toward their moody, introspective music.

The Viral Mexican Artist Making Music Worth Crying Over

What does viral success look like for the internet generation? In Mexico, singer-songwriter Ed Maverick offers a prime example. In less than one year, the 18-year-old guitarist, whose real name is Eduardo Saucedo, has gone from having 1,000 daily streams on Spotify to over 98,000, thanks to his nine-track album of acoustic bedroom-pop titled “mix pa llorar en tu cuarto” (a mixtape to cry to in your bedroom) and a fateful spotting by one of our editors of his track “Fuentes de Ortiz” on the Mexico Viral 50 playlist. One listen to that track, and it’s easy to see why it was included on Spotify’s Distrito Indie playlist before eventually making its way to the flagship  La + Chingona and Éxitos México playlists.

Typically armed with little more than a guitar, each song onmix pa llorar en tu cuarto is a raw portrayal of the uncertainty and insecurity of young love. The audio equivalent of reading someone’s diary, the tracks are vulnerable and heartbreakingly relatable. In a rich baritone, Saucedo expresses his feelings through simple, approachable lyrics that mix in everyday Mexican slang, reflecting how people actually communicate.

Karpe Diem,” one of the first songs he wrote, describes his experience in getting over someone. In discussing the song with For the Record Saucedo said it’s probably the song closest to his heart, as it represents the start of his transition to “adult problems, not kid problems anymore.” Indeed, many of his songs come from his own experiences, particularly with ex-girlfriends, although he evades linking them to a specific moment.

Saucedo, who comes from the northern state of Chihuahua, Mexico, didn’t grow up in a musical family, but learned to play guitar by watching videos and playing in norteño—a genre of music popular in the region he comes from—groups throughout middle school. His style evolved through playing covers of songs by his favorite bands, such as those by Mexican indie rockers Little Jesus. But neither style of music suited what he wanted to do, so he decided to strike out on his own and eventually started composing his own songs. “I felt the need to release what was going on in my mind,” he said.

And perhaps this is the secret to the easy intimacy of his lyrics: He works by following his intuition and going with the flow, as opposed to forcing things. Even when Saucedo starts to write a song, he likes to see how he’s feeling—whether it’s good or bad—and to see “what arrives.” Ultimately, what he’s hoping for is that people listening to his songs can at least “feel something”—and perhaps realize they’re not the only ones going through the difficulty of being a teenager. “That’s why I make music, really,” he said.

Saucedo recently moved to Mexico City, where his sister acts as his manager. He’s navigating his sudden rise to fame by making sure he stays in touch with his friends from back home, as well as his fans, many of whom are his age or younger. In April, he held an autograph signing session in the city’s south, where a lot of university students live. When he arrived, over 1,000 people were waiting for him, and some of them had been there since 8am that morning. Luckily, their spirits were kept high as he performed for the crowd, and they sang along with him. Afterwards, he signed everything from copies of his album to sneakers and a ukulele.  

Right now, his influences include another Mexican indie rock singer, Dromedarios Mágicos, who also comes from Chihuahua. He enjoys listening to bands like King Gizzard & The Lizard Wizard, The Walters and Señor Kino. And already, as a follow-up to his album, he’s released “Ropa de Bazaar” featuring Jenny Juárez of the Sonora-based lo-fi pop act Bratty, a folk-tinged acoustic song about a young couple escaping together. “Let’s go far away from here,” the two sing as Saucedo strums his guitar. “Accompany me and I’ll take care of you, through the drunken crazy times and all the rest.”

While at one point he harbored thoughts of being a graphic designer, right now Saucedo is happy with continuing his music career. He doesn’t have a specific milestone in mind, but for the near future he’d like to head “somewhere very far” and compose for a few months, and produce something different to his first album, both lyrically and musically—he just doesn’t know exactly what yet.

Listen to the whole album by Ed Maverick, mix pa llorar en tu cuarto, or for extra acoustic intimacy, hear the live version of his latest single, “Ropa de Bazaar.”

The ‘Otherworldly Magic’ Behind First Aid Kit’s New Spotify Singles

Klara and Johanna Söderberg, the guitar-toting sisters behind Swedish indie-folk band First Aid Kit, are no strangers to a good cover song. In fact, the 27- and 25-year-old duo encountered internet fame due to their chilling acoustic rendition of Fleet Foxes’ “Tiger Mountain Peasant Song.” Now, as established performers in their own right, the sisters bring their unique style to every note and lyric—and record covers that impress even the original band that wrote them.

As they’ve grown in popularity—the two have garnered over 2 million monthly listeners on Spotify—they try to perform at least one cover at every live show to pay tribute to their influences and challenge themselves by playing something new.

Recently, the sisters had the opportunity to record one of their hit songs, as well as a new cover, at the new state-of-the-art Spotify Studio in Stockholm. We sat down with the Söderberg sisters to cover everything—their reason for recording Kate Bush’s ethereal 80’s pop-synth classic “Running Up That Hill,” a common misconception about folk music, and the way magic has emerged in their lives and in their music.

Q: What was it like to record in the new Stockholm Spotify Studio? What was unique about the opportunity?

A: We had a blast! The studio is beautiful. It truly has everything you need recording-wise. We felt very spoiled to get to go in there and play around, do whatever we wanted in such a luxurious environment. It was very freeing. We are super happy with the results; we think the performances really came through and that the sound is fab.

When we recorded the Spotify Singles we only had a couple of hours, which makes for a really special energy in the room. It’s a little scary, because you know you’re not coming back to change anything, but there is also something exciting about that.

Q: Tell us about the new version of your song “Fireworks”—what distinguishes it from the album version, and why did you want to make a new recording like that?

A: We wanted to release a stripped-down version of “Fireworks” to parallel the more lavish arrangement on the record. We think the song works really well this way, and the song melody and the lyrics really come through. We wrote the song this way, and it reminds us of the original demo we made for the song in our home studio in Stockholm where Klara is on acoustic guitar, Johanna is on bass guitar, and our father Benkt is on electric. We also got help from our dear friend and touring companion Sebastian Ring. He wrote the beautiful string arrangement you can hear in the background. It was played by a Stockholm-based string quartet.

Q: What did you cover for your Spotify Single, and why?

A: We wanted to cover an artist we hadn’t covered before. Kate Bush is new territory for us and was a fairly recent discovery. She’s so powerful in her expressions, so unique in her lyrics and performances. She’s got something magical going on.

Covering “Running Up That Hill” is an homage to her. “Running Up That Hill” is known for its cool arrangement, with the ’80s keyboards and heavy toms. We wanted to strip it down and focus on the amazing song melody and the lyrics hidden behind all of the production. We did our own folky-rock take on it instead.

To us the song is about gender, about how we’re taught to see things differently depending on if we’re born a man or a woman. How it can be really difficult to understand each other, and how much easier things would be if we could switch sides for a while.

Q: What cover would you like to tackle that you haven’t attempted yet?

A: When it comes to covers we’re up for anything, and we’ve already covered all kinds of genres, from an electronic act, like Fever Ray’s “When I Grow Up,” to heavy metal, like Black Sabbath’s “War Pigs.” We’d love to try a Fleetwood Mac or Stevie Nicks song. We’ve attempted them before, but because the originals are so good, it’s tricky. It’s a thin line between sounding like a bad karaoke version and attempting something new with a song. One day we’ll get there though.

Q: What’s the biggest misconception about folk music you’d like to dispel?

A: That it has to be soft and polite! Folk music should be played loud and be performed with lots of emotion and conviction. It’s OK to be angry in a folk song.

Q: When you were young, you both thought you could be witches. Did that influence your music video for “My Silver Lining,” or your choice to cover “Running Up That Hill?” How is music like magic?

A: Yes, haha, that is true. Many of our songs have a dark and mysterious vibe to them. We’ve always been drawn to witchy imagery in our videos and artwork. Maybe it comes from spending hours watching “Charmed,” “Sabrina The Teenage Witch” and “Buffy The Vampire Slayer” as kids. Or maybe we truly are witches.

Music is definitely magic! We don’t quite understand it and we don’t try to. Writing and performing songs is almost a spiritual experience. The way we connect when we sing together sometimes feels otherworldly.

Listen to First Aid Kit’s new Spotify Singles here.