There is a calmness to Chelsea Jordan’s approach. On an EP such as this, every song feels impactful yet comforting. "Halfwaythru" is a fun and playful ode to an extrovert, inspired a trip to London with her writing partner, Jamie Gelman. She balances quietly heartbreaking lines like "the parts you fell in love with now you just put up with" with charming lines of "I love a cheeky glass of wine and cigarette". "This was the first song I wrote where I was like, this is who I am either love it or you leave it," she says.

Lasting careers aren't built overnight, progress is hard, and the entertainment industry isn't a place of free passes. Siân Welby can attest to this: a fixture of British culture for over a decade, she knows firsthand the hard work it takes to make it and the often-harder work it takes to stay there. Through all trials and tribulations, it's been Siân's determined pragmatism and unshakeable humour that have cleared the path to and through success.

There’s a particular calm in artists who refuse easy closures. Cody Frost speaks like that: pragmatic about process, stubborn about craft, and quietly fierce about what she refuses to leave unsaid. The songs on their new EP Mechaeval arrived out of that patience…

Seventeen-year-old Mathew Cartlidge and his nineteen-year-old sister Issey formed their band during the 2020 lockdown. In just a few years, they’ve played more than 600 shows and opened for icons like the Sex Pistols, Blondie and Iggy Pop.

Ferne McCann is a familiar presence on British screens, having been a television personality, a showbiz presenter, and most recently, the host of a therapy informed podcast. Over the past decade, her life has been lived in the public eye, across changing roles and responsibilities. What has shifted is not her visibility, but the way she now uses it.

For more than a decade, Of Monsters and Men have been Iceland’s most recognisable musical export, their sweeping anthems carrying the wind and weather of their homeland to stages across the world. Their newest album, All Is Love and Pain in the Mouse Parade (released globally on 17 October), does just that…

In the quiet space between centuries, where gaslight fades into the first electric glow, the Forsytes stand. They are a family bound less by affection than by determination, with Soames Forsyte embodying the certainty of late Victorian Britain at their centre. Then, all too quickly, Millie Gibson’s Irene arrives and unsettles the foundations of his carefully ordered world.

There is a softness to LYVIA’s story. Her descent into the music industry wasn’t born of confrontation or single-mindedness, but of listening. To herself. To her city. To the rhythms of chance encounters and redirection.