From Waxahatchee and Florry in the US to Brown Horse and Little Grandad in the UK, a wave of young songwriters are reinvigorating the subgenre’s earnest emotion and twang

‘It’s so important to talk about this before it’s gone,” says Francie Medosch, singer, guitarist and songwriter of the band Florry, “because it’s really a flash in the pan.” The flash she means is a brief moment where it feels as though on both sides of the Atlantic, scores of exciting indie bands are playing something that, without slavish copying, has plainly drawn inspiration from alt-country, the music that emerged in the US in the late 1980s and early 90s, when former punks such as Uncle Tupelo – featuring future Wilco co-founder Jeff Tweedy – and the Bottle Rockets picked up picked up fiddles, banjos and acoustic guitars.

In the UK, Brown Horse and Vegas Water Taxi have the weeping pedal steel, in the former case tied to something very heartland and in the latter paired with a very English indie sensibility. Westside Cowboy and Little Grandad both borrow from the spiky rootsiness of early Wilco, while Wyatt play slacker country rock. Over in the US, where there’s always going to be more of this sort of thing, you can point to the current indie-rock holy trinity of Waxahatchee, Wednesday and MJ Lenderman, plus Florry, Ratboys, Thomas Dollbaum, Fust, SG Goodman, Lily Seabird, Ryan Davis and the Roadhouse Band and more.

He was Queen’s flamboyant frontman. She was his shy girlfriend, dreaming of marriage until they both realised he preferred men. Thirty-five years after his death, in the week he would have turned 80, Mary Austin talks about their unbreakable bond

There were four silver trunks in Mary Austin’s attic that she packed in the mid-1980s and hadn’t opened since. It was too painful. Almost 40 years on, in 2022, she opened one. It was crammed with lyrics from songs written by Freddie Mercury – Don’t Stop Me Now, Killer Queen, We Are the Champions and, of course, Bohemian Rhapsody. She shut the case. It was still too painful.

“To say I was overwhelmed is an understatement,” she says. “I couldn’t look at the lyrics. I felt as I did when I originally packed them – that they were his personal belongings and I was being offered an opportunity to delve into them, and I couldn’t do that.” Eventually she asked her two sons to sift through the treasures on her behalf.

Their un-Googlable, very online name is the antithesis of this earthy duo’s sublime art-folk. Like their emotionally ambiguous music, the pair don’t give up their mysteries easily
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Victoria Rose arrives at Philadelphia’s 30th St Station and apologises for the sticky streaks covering her car’s interior. She’s a beekeeper, and it’s just propolis, a resinous sealant for gaps in the hive. Her bandmate, Stone Filipczak, is riding shotgun, and her protective gear occupies the rear passenger seat. We’re heading to one of their favourite spots, an Ethiopian restaurant that doubles as a venue. The dining room quickly gets boisterous – a challenge for our interview given that Filipczak and Rose are relatively soft speakers, and not wildly keen to divulge specifics about the music they make as @. Like Rose’s bees, they’re a secretive and self-sustaining pair.

As you might guess, @ is pronounced “at”. It’s a tough Google. The name, Filipczak explains, came from “a vision of an @ sign on a kick drum head”. Not that they have any need for one: @’s art-folk is rooted in acoustic guitar, woodwinds and vocal harmonies that furrow and frolic. Their fantastic second album, Autosmile, is their first with the venerated indie label 4AD. (The name is a reference to a meme showing a dopey sunflower: “When you and gang faded and auto smile gets turn on …”)

Irish noisemongers Gilla Band, shadowy producers Two Shell and lovable band the Big Moon have new records, and there are tours from Bob Dylan and Kelela – plus the best of jazz, global and classical

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Their raucous pop music has made Katseye the biggest girl band in two decades. Can they weather toxic fandom, critical pans and a dwindling member count?

Before screenings of their new documentary, the members of Katseye appear in a video message to thank fans for their support. Their followers, Eyekons, have played a critical role in their rise to stardom, so it makes sense that Katseye: Wild Hearts, released in global theaters this month, takes a beat to shout out to them. Perhaps more than many other big music groups today, the group’s rise has depended on their relationship with their devotees who ensure that few corners of the world are safe from Katseye mania.

Katseye’s multinational members – Daniela, Lara, Manon, Megan, Sophia and Yoonchae – were selected through a combination of fan votes and judge scores on the 2023 YouTube reality competition The Debut: Dream Academy. The joint project between the American record label Geffen Records and Korean entertainment company Hybe aimed to create a global girl group, with hopefuls participating in a rigorous bootcamp to test their singing and dancing skills. The following year, Netflix’s docu-series Pop Star Academy: Katseye – which documented the group’s nascent era, behind-the-scenes drama and all – catapulted them to a new level of visibility.

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The Grammy winner unites former clients including Lamar and Ravyn Lenae for a playful, dazzling voyage through the guitar’s diversity, from alt-rock to Afrobeat

On this long-awaited debut, Grammy-winning hip-hop producer Dahi steps out from the booth and into the spotlight. He’s best known for transforming a dreamy Beach House sample into Kendrick Lamar’s hit Money Trees, alongside chameleonic production work for SZA, Madonna, Drake and many more. Now that Dahi’s got the mic, what does he want to say?

Blending the brittle 90s British rock he loved as a California teen with the west African grooves his father played in the house, Black Boy (Alternative) celebrates the guitar as a transcendent tool that spans genres and continents. No other album this year will boast such starry guest features – Dahi calls up former clients Lamar, Childish Gambino, Vince Staples and Ravyn Lenae alongside experimentalists such as Moses Sumney, Baby Rose and Fousheé – but it’s testament to the strength of his vision that these distinct voices come together like a bedded-in, playful house band. All trust, no ego.

What track gets your feet moving the moment you hear it – and on to the dancefloor? I Feel Love by Donna Summer? Or We Found Love by Rihanna? We’d love to hear what yours is

There are some songs which are guaranteed dancefloor fillers whether it’s at a wedding, a club or a music festival.

We would love to hear from people about the song that always gets them on the dancefloor. Are you throwing shapes to Beyoncé’s Single Ladies (Put a Ring on It) or ABBA’s Dancing Queen? Why is your go-to song for dancing your favourite?