I’ve always appreciated artists who aren’t afraid to evolve, and Canadian singer-songwriter Rachel Cousins does exactly that on her fourth album What Hasn’t Killed Me. Known for polished pop records in the past, this project feels more personal and stripped back, leaning into Adult Contemporary, Folk, and Alternative textures that let her storytelling breathe.

What stands out most is the honesty. Songs about mental health, recovery, friendships, and growing into adulthood run throughout the album, especially on the focus track “Little Help,” which captures the quiet courage it takes to admit you need support. There’s a warmth here that feels less like a performance and more like a late-night conversation with a friend.

Cousins has already built an impressive resume—award wins, television placements, and major stages—but this record feels like a creative turning point. You can hear the freedom in it, and the sound fits naturally alongside artists found on Spotify playlists like Fresh Folk, Next Gen Singer-Songwriters, Fresh Finds Indie, Chill Pop, and New Music Friday Canada, all of which lean into reflective songwriting and emotionally driven pop.

What Hasn’t Killed Me ultimately feels like an album about growth—messy, honest, and human—and Rachel Cousins sounds more comfortable in her own voice than ever.

Isaac Neilson has dropped “No Affection,” and this one caught my attention because it feels like a record that came together under pressure and ended up saying something real. The track moves through themes of failure, self-reflection, and pushing forward, built around a tight groove and a vocal delivery that carries the story from start to finish.

Isaac is based in Nottingham, originally from Buxton, and he’s been steadily building a following across the UK through festivals, radio support, and constant touring. What stands out to me is the work ethic behind what he’s doing right now—playing shows daily in 2026 and leaning into the grassroots circuit, which is still where a lot of real artist development happens.

One part of his story that stuck with me was how the song came together. As Isaac put it, the track started when he had “no budget left and the clock ticking,” and the entire song was written and recorded in a day. That kind of situation tends to pull something honest out of an artist, and you can hear that urgency in the record.

From a discovery standpoint, “No Affection” feels like a track that could connect on Spotify playlists such as Fresh Finds, Fresh Finds Indie, All New Indie, The Indie List, New Noise, or Alternative UK, where guitar-driven releases and independent artists often find new listeners.

If you follow the indie and alternative space closely, Isaac Neilson is one of those artists worth keeping on your radar, especially with the pace he’s moving right now.

BERENICE is back with “Wifey Material,” a record that looks at expectations in relationships and the pressure to fit a role. The song centers on the idea of being shaped into the “ideal partner,” and what happens to identity when someone tries to meet those standards.

What stood out to me listening to this one is how direct the concept is. The lyrics stay focused on the theme the whole way through, and the vocal parts shift as the perspective changes, which keeps the story moving. It feels like a record built to start conversations as much as to be streamed.

BERENICE has been building momentum over the past year, with coverage from Rolling Stone UK, spins on BBC Radio 1, and growing reach on TikTok that’s bringing new listeners into her catalog. You can see the audience expanding release by release.

From a playlist standpoint, this is the kind of track I could see landing on Spotify playlists like Fresh Finds, Fresh Finds Pop, Lorem, Indie Pop, Alternative Pop, New Music Friday UK, or All New Indie, where records that connect through storytelling and repeat listens tend to pick up traction.

If this pace continues, “Wifey Material” looks like another step forward in a catalog that’s steadily finding its audience.

Check out more artists on Kings of A&R

If you’re paying attention to what younger teens are actually interested in right now, it’s pretty clear that music is winning.

More and more kids are skipping the traditional routes like modeling agencies or local theatre programs and instead putting their energy into making songs, learning production, and building small fanbases online. For a lot of them, the goal isn’t Broadway or runway shows anymore — it’s Spotify, TikTok, and YouTube.

Music feels more accessible than ever. You don’t need to live in a big city, have industry connections, or even leave your bedroom to start. With a laptop, a mic, and some basic software, teens can write, record, and release their own tracks without waiting for permission from anyone. That alone makes it way more appealing than auditions, castings, and contracts.

There’s also more control. In music, kids get to shape their own image, sound, and identity. They’re not just playing a role or being styled by someone else, they’re telling their own stories. That’s a big shift from modeling and theatre, where most decisions are still made by agents, directors, or brands.

Social media plays a huge part too. When teens see artists their own age blowing up from a single song or a few viral clips, it feels realistic. They can watch the entire journey in real time, not just the polished end result. It makes music feel like something you can actually grow into, not just dream about.

The vibe is different now. Theatre and modeling used to feel like the main creative paths. Today, music feels more personal, more flexible, and more aligned with how young people already live online. For this generation, being an artist doesn’t mean fitting into a system — it means building something from scratch and seeing where it goes.

Written by Dean Cramer via Kings of A&R

For most artists, getting a message from a record label feels like winning the lottery. Years of grinding, uploading music, chasing playlists, building a following — and finally, someone from “the industry” wants to talk. The problem is, that moment of validation is exactly what labels rely on to push artists into deals that benefit the label far more than the artist.

The truth is, labels rarely sign artists because they believe in “art.” They sign artists because they see leverage. Data, momentum, audience, image, marketability. If you’re being approached, it usually means you’ve already done the hardest part: building something on your own. Ironically, that’s often when a bad deal becomes the most dangerous.

Most modern label deals are structured around ownership and control. The label offers an advance, which sounds like free money, but is really just a loan you have to pay back from your future earnings. Then they take a large percentage of your masters, your publishing, sometimes even your brand, merch, touring, and image. You’re essentially financing your own career while giving up the rights to it.

The biggest trick is urgency. “We need an answer by Friday.” “This opportunity won’t be here long.” “Other artists are interested.” Labels know that scarcity creates emotional decisions. Artists start thinking in terms of being chosen instead of being strategic. They stop asking the most important question: What am I actually giving up, and for what?

Another common tactic is the illusion of support. Labels promise marketing, playlisting, radio, PR, connections, and “the machine.” In reality, most artists on labels get minimal attention unless they’re already performing. If your first release doesn’t hit, you’re often quietly deprioritized while still locked into a multi-year contract you can’t escape.

What artists rarely realize is that in 2026, labels need artists more than artists need labels. Distribution is cheap. Marketing can be outsourced. Fans are built on TikTok, Instagram, YouTube, Spotify, and email lists — not through label offices. Many artists today are doing millions of streams independently, keeping ownership, data, and long-term income.

The smartest artists don’t ask, “How do I get signed?” They ask, “What does this deal give me that I can’t already build myself?” If the answer is vague — exposure, credibility, industry access — it’s usually not worth giving up your masters for the next 10 to 20 years.

A good deal should feel boring on paper. Clear splits. Short term. You keep ownership. You can leave. You understand exactly how money flows. If you can’t explain your own contract in simple language, it’s probably not in your favor.

The real flex in today’s music industry isn’t getting signed. It’s having leverage. It’s owning your catalog. It’s being able to say no. Labels aren’t evil, but they are businesses, and their job is to acquire assets at the lowest cost possible. Your job as an artist is to realize that you are the asset.

The moment you stop chasing validation from the industry is usually the moment the industry starts chasing you. And that’s the only position where a deal ever makes sense.