Emma Harner – ‘False Alarm’.
Originally hailing from Lincoln, Nebraska and now based in Boston, singer-songwriter and guitarist Emma Harner has been on my radar for some time now. She first gained attention through a series of viral videos on Instagram and TikTok and since then has earned a devoted following. For the record I discovered her via Rick Beato, who featured her on his popular You Tube channel. What I really like about Harner is her melodious acoustic guitar-driven sound and especially her soft vocals. It’s fair to say this newcomer will continue to find her own voice. She’s already I think an accomplished singer and while she seemingly imitates the raw emotional depth of someone like Maggie Rogers, I’m still quite impressed by her unabashed vulnerability as a songwriter. Her latest single is called The Lake which features Henry Jamison. You can listen to it HERE. But the song I would like for you to take a listen to for now is her live rendition of False Alarm, a poignant rendition on homesickness and self-discovery, taken from her EP Taking My Side (2025). Enjoy!
Avery Lynch – ‘Dead To Me’.
Los Angeles-based singer songwriter Avery Lynch is often described as a “happy girl filled with sad songs.” On her new project Glad We Met she doesn’t disappoint, treading new tales of heartbreak and self-discovery. Importantly for listeners her frank lyrics and soft vocals (very reminiscent of how Phoebe Bridgers sings) are as pleasing and impactful as ever. It’s fair to say Lynch is best known for her emotionally charged, piano-driven ballads, and on her new 9-track EP (Why it’s an EP and not an album I will never fully understand), Dead To Me, stands out as an example of what she does best – dissecting love and loss. In the pre-chorus Lynch sings, “How do you end up all in and it still falls short? / No ill intentions but that doesn’t mean that to doesn’t hurt.” It’s a great line, no doubt, and the EP is throughout peppered with this sort of confessional tone. While not quite a household name like Olivia Rodrigo and Gracie Abrams, Lynch’s rousing indie-pop is still deserving of our attention.
Anna Tivel – ‘White Goose’.
With every new release Anna Tivel continues to cement her place as one of my favourite musicians of the 21st century. She once told me in 2017 that my impression of her heart-on-sleeve approach to life and music was a fair assessment. It still is, as she navigates life and music in a troubled nation in decline. That said, Tivel has always put storytelling first, drawing inspiration from her own observations of life and the places and people she meets often while on the road. On her seventh studio album Animal Poem, Tivel’s commitment to the craft of songwriting is stronger than ever. Pitchfork’s cultural critic, Linnie Greene recently said, “Through her graceful poetry and pristine instrumentation, the folk singer delivers indictments of modern indignities alongside moments of hope.” I honestly couldn’t have said it any better. Thanks Linnie. In short, I love this new album (though maybe not as much as Small Believer or Outsiders) because Tivel understands just how messy life really is and what it means to be a flawed human being. One of my favourite tracks from Animal Poem is a song called White Goose. It’s a meditation on the mistakes we’ve made and the regrets we have and the things that we have lost. I especially love how in the song Tivel equates the things that are lost or gone as being “the ghost of everything we loved and everything we didn’t fight for”.
Rearview Mirror 
Thanks for this triple decker of introspection, Robert. After tasting each, I let all three run simultaneously, which was a strange but fascinating experience. An acoustic-folk version of Grayfolded.
I’m thrilled you enjoyed my three-song selection Bruce. It’s a nice change of pace.
Thanks for introducing me to three artists who are new to me. All are compelling picks. As a (very rusty and essentially retired) hobby guitarist, I think I feel mostly drawn to Emma Harper. That said, I’m also impressed with Avery Lynch and Anna Tivel, based on my first impression.
Many folks who like me love ’60s and ’70s music in particular (my wife has told me more than once I grew up in the wrong decade!) are quick to complain music nowadays no longer is what it used to be – essentially saying contemporary music is inferior. Sure, most music these days is different but that doesn’t mean it’s bad.
Perhaps decent contemporary music is a bit harder to find than in the ’60s and ’70s, but it’s out there. You just have to be willing to look for it. You also should be open-minded and not dismiss new music just because it’s not the same old, same old. This doesn’t mean you have to like it better than ’60s and ’70s music, but you can still appreciate it.
One of the greatest things music blogging has done to me is to broaden my musical horizon. My taste has never been as eclectic as it is today. That’s a good thing! And it’s thanks to fellow bloggers like you who introduce me to new music. Thanks again!
Thanks for your kind words Christian. Apologies for the really long delay replying. I was recently in Europe for three weeks on holidays. I hear you on your love for 70s music. I kinda feel the same way. And yes, with so much new contemporary music, it is difficult to keep up with it all. But you’re right some of it sounds inferior to what is nostalgic to us. I believe many new artists fall into the trap of producing short, catchy, repetitive music hoping it will widen their mainstream appeal. Of course there are many artist who risk it all to create something unique. Indie musician, storytellers and those who fly under the radar are artists who I look for the most in today’s music scene. I guess that’s why I appreciate the three musicians here above. They have something to say.