Entertainment

Produced by hitmaker Shadiel Chan, the group’s latest release showcases a softer, more mature sound following newfound momentum

After captivating local and international audiences with the viral cover of “Takedown”—which has amassed more than millions of views across social media—and following the release of their fan-favorite single “Tanga,” emerging P-Pop powerhouse KAIA makes a triumphant comeback with “hulog,” their new single under Sony Music Entertainment.

Where “Tanga” mined the irrational things people do in the name of love, “hulog” steers the direction toward something lighter, brighter, and more hopeful: the exhilarating feeling of falling in love. Built around the central question, “Paano ka ba nahulog?,” the song invites listeners to revisit the innocent and exciting moments that made their hearts flutter for someone in the first place.

The song celebrates romance in its purest form, capturing the indescribable joy and overwhelming feeling of someone who is ready to fall in love.

“hulog came at the right time because it really represents where we are as KAIA now,” shares the five-piece pop group. “After everything we’ve experienced from our previous releases and the love we received from our fans, we wanted to share a song that shows a more vulnerable and heartfelt side of us. This song is about vulnerability, about allowing ourselves to be open, to take risks, and to embrace the emotions that come with caring deeply about something or someone. We felt that it was the perfect song to mark this new chapter because it reflects our growth not just as artists but also as individuals.”

The release marks a big moment for KAIA as it taps some of the most influential names in today’s modern OPM. “hulog” is produced by Shadiel Chan of Nine Degrees North, alongside Ken Ponce, with Chan cementing his reputation as one of the country’s premier hitmakers. Widely recognized as the producer behind Cup of Joe’s blockbuster hit “Multo” and numerous chart-topping records over the past five years, Chan brings his signature melodic chops and production touches to KAIA’s latest release.

The song’s lyrics were penned by Jikamarie, Red Ridao, Ron Pangyarihan, and Chan himself; KAIA, on the other hand, contributed to the creative process by sharing their experiences and perspectives. “Working with Mr. Shadiel Chan was truly a dream for us. We’ve always admired his work, especially his ability to create deeply emotional songs like Multo, so getting the chance to collaborate with him felt really surreal and special.”

The acclaimed quintet adds, “It was also a dream for us to perform a song created by Mr. Shadiel Chan and Mr. Red Ridao. We are truly grateful and honored to have worked with them on hulog, as they thoughtfully shaped its sound and emotion while guiding us in delivering the right feelings through our vocals. The entire experience made the song even more meaningful and special for us as artists.”

hulog stands out thanks to its warm, uplifting production, backed by carefully crafted vocal arrangements. Throughout the recording, KAIA worked closely with Chan, Ponce, and R&B singer-songwriter Jikamarie, who guided the group through harmonies, ad-libs, and vocal interpretation.

“While recording, we learned so much from our producers and Ms. Jikamarie, who helped us with the adlibs and harmonies, allowing us to explore and bring out different emotions in the song,” KAIA reveals. “We also had meaningful conversations that helped us connect with the message of hulog on a deeper level. The process gave us the chance to look back on some of our happiest memories and use those genuine feelings to bring more heart and authenticity into our performance.”

KAIA’s “hulog” is out now on all digital music platforms worldwide via Sony Music Entertainment.

Learn more about our creators and labels here.

From practical streaming insights to networking opportunities and live performances, the two events emphasized Symphonic’s commitment to empowering artists, labels, and music industry professionals in the Philippines

Symphonic Asia Pacific recently held two back-to-back initiatives focused on fostering collaboration and advancing music industry knowledge: the Spotify Masterclass and Symphonic Social Night. The events brought together Symphonic Distribution’s partner artists, labels, and other creative stakeholders at Sari-Sari Bar on June 18, 2026.

Spotify Masterclass

The day opened with the Spotify Masterclass, designed to provide artists and music professionals with practical insights into navigating today’s streaming landscape. Led by Spotify experts, the session covered essential Spotify for Artists tools, audience analytics, promotional features, digital growth strategies, and industry best practices to help participants strengthen their presence on the platform.

Participants include representatives from Underdog Music Asia, FlipMusic, Fire and Ice, Diorama FM, Groovy Garden Records, Music Monks, Playback Records, and acclaimed music icon Jim Paredes, among others.

“Symphonic’s goal is for participants to gain a clearer understanding of how to build sustainable careers, use available tools and platforms more effectively, and make informed decisions that support their long-term growth in the industry,” shares Guji Lorenzana, Director of A&R and Client Development, APAC, Symphonic Distribution. “The music industry is more accessible than ever, but it has also become increasingly complex. Artists today are expected to navigate distribution, marketing, analytics, branding, audience engagement, and business strategy, often simultaneously. Initiatives like the Symphonic x Spotify Masterclass help bridge the gap between access and understanding. By providing direct access to industry expertise, current best practices, and real-world experiences, these programs equip creators and professionals with the knowledge they need to make confident, strategic decisions. More importantly, they foster community.”

Symphonic Social Night

Following the masterclass, Symphonic Asia Pacific hosted Symphonic Social Night, a special gathering dedicated to creative professionals, artists, and partners in a creative space centered on connection, collaboration, and celebration.

Created as an extension of the day’s conversations, the event provided a place for networking and relationship-building while spotlighting some of the most exciting artists from Symphonic Distribution’s growing roster through a curated live showcase.

Fresh off their acclaimed debut album release, P-Pop group VVINK graced the stage with their infectious anthems, polished choreography, and commanding presence. Chezka and Novocrane also captivated the crowd with performances characterized by melodic grit and creative boldness, while Indonesian artist Jordan Susanto brought the house down with his soul-stirring numbers. Other notable performances include Symphonic’s very own Fiona, who performed some of her original songs; P4blo, whose hard-hitting verses resonated strongly with the audience; and pop-punk veterans Letter Day Story who took attendees on a nostalgic journey through fan-favorite hits, alongside new material. Capping off the celebration, Symphonic’s very own Guji took the decks for a special DJ set that brought the night to a fitting close.

Guji explains that events like these reflect the music industry’s core values: community, creativity, and connection. “We wanted to create a space where conversations continue, collaborations can begin, and everyone can come together to celebrate the vibrant and diverse music culture emerging from the region.”

He adds, “As Symphonic continues to expand across APAC, our goal is to empower the independent music community by creating more opportunities for artists and industry professionals to connect, learn, and grow together. Many of us at Symphonic are artists ourselves, so we understand firsthand how important community, education, and access to meaningful industry relationships can be in building a sustainable career. The stronger our community becomes, the stronger the future of independent music in the region will be.”

PURCHASE HERE | LISTEN HERE | WATCH HERE

IMAGE CREDIT: KQ Entertainment

K-pop powerhouse ATEEZ returns with their highly anticipated new mini album, ‘GOLDEN HOUR : Part.5,’ marking the next chapter in the group’s ongoing GOLDEN HOUR series. Released on June 26, the album features five brand-new tracks that further showcase ATEEZ’s signature ability to blend powerful performance-driven music with genre-crossing artistry. The EP is out now via Sony Music Korea/RCA Records – click here to listen.

Led by title track “BAD,” ‘GOLDEN HOUR : Part.5’ delivers a catchy and addictive new sound filled with bold energy, confident attitude, and instantly memorable hooks. The album’s five tracks each bring distinct colors and genres to the project; from explosive hip-hop and sleek dance production to moody alternative pop and rhythmic Latin-inspired influences. Alongside “BAD,” the album includes “MAMACITA,” “TOXIN,” “Fallin’,” and “Body,” creating a dynamic listening experience that highlights the members’ versatility and evolving musical identity.

Members HONGJOONG and MINGI once again participated in writing lyrics for all five tracks on the EP, continuing their consistent creative involvement in ATEEZ’s music and storytelling.

Ahead of the album release, ATEEZ heightened anticipation globally through a cinematic trailer and teaser campaign that immediately sparked conversation among fans worldwide. The visually striking trailer introduced the mysterious atmosphere surrounding ‘GOLDEN HOUR : Part.5’ while hinting at the bold storytelling and larger-than-life visuals to come.

The official music video for “BAD” further expands that immersive world through intense choreography, cinematic visuals, and high-energy performance sequences. The video also features rising Hollywood actress Chase Infiniti, known for her breakout role in Apple TV+’s Presumed Innocent, as well as her outstanding performances in One Battle After Another and The Testaments. Her appearance adds another cinematic layer to the visually ambitious music video while highlighting ATEEZ’s growing global reach across entertainment and pop culture.

ATEEZ is also set to bring the new era directly to global audiences through a series of major international festival appearances this summer. The group will headline at BST Hyde Park in London on June 28, one of the UK’s most iconic music festivals, where they are set to unveil the first-ever live performance of “BAD.” Additional festival appearances include headlining performances in Poland, Istanbul, and Italy’s Rock in Roma, further cementing ATEEZ’s status as one of the leading global acts in K-pop today.

Continuing their global promotions, ATEEZ is also scheduled to appear on The Kelly Clarkson Show for a special performance on July 1. With ‘GOLDEN HOUR : Part.5,’ ATEEZ continues to push boundaries creatively while delivering the explosive performances and ambitious artistry that have defined their rise on the global stage. You can watch the music video here and stream the album here.

LISTEN TO [GOLDEN HOUR : Part.5]  HERE

[GOLDEN HOUR : Part.5] TRACK LIST

1. BAD **title track**
2. MAMACITA
3. TOXIN
4. Fallin’
5. Body

The comeback arrives shortly after ATEEZ achieved another major career milestone by receiving the grand prize award at the Seoul Music Awards, reaffirming both their critical acclaim and worldwide popularity.

ATEEZ 2026 UPCOMING PERFORMANCE Dates:

June 28 – London, UK – BST Hyde Park

July 8 – Rome, Italy – Rock In Roma

August 14 – Istanbul, Turkey – İstanbul Festivali

August 15-16 – Silesia, Poland – SOUND IN COLORS

For more about ATEEZ, visit: https://ateez.kqent.com/

ATEEZ SOCIALS:

INSTAGRAM (11M+) | TIKTOK (9.5M+) | X/TWITTER (4.6M+) | SPOTIFY (4.5M) | YOUTUBE (4.9M+)

INDIVIDUAL INSTAGRAM:

HONGJOONG | SEONGHWA | YUNHO | YEOSANG | SAN | MINGI | WOOYOUNG | JONGHO

Penned by Kakoy Legaspi and produced by the pop-rock quartet, the new single marks a confident return to form

More than two decades after stepping away from the music scene, Barbie’s Cradle makes a long-awaited return with “Emergency,” their first release since 2003, signaling a fresh chapter for the band.

Released through Sony Music Entertainment, the indie pop single showcases the band’s signature vocal harmonies. Written by guitarist Kakoy Legaspi and co-produced by Barbie Almalbis alongside the rest of the group, the track explores existential anxiety with a refreshing sense of humor. Instead of attempting to resolve life’s biggest uncertainties, “Emergency” embraces the idea that accepting life’s unpredictability—and even finding amusement in it—can be the most meaningful way to cope.

“It’s a sarcastic take on existential crisis,” Legaspi explains. “It’s about trying to make sense of life’s absurdity by simply becoming more ‘zen’ about it—and about ourselves.”

“Emergency” mirrors the adventurous spirit that has long defined the band’s late ‘90s to early 2000s work, while also presenting the band at their most collaborative yet. The song begins with an unconventional verse riff written in 7/8 time, a rhythmic idea that became the foundation of the composition.

Legaspi recalls, “I came up with the idea of the lyrics when I found myself staring at a piece of paper on the wall that had ‘emergency numbers’ written on it. At first, it was very hard for me to sing and present the song to the band, but Barbie came up with the ingenious idea of cutting up the verses in a very fast, jarring way, like a duet but with no spaces in between. It made the song flow way better and gave it a unique twist.”

Although the track was originally written during the mid-2000s, it remained shelved for decades before being rediscovered during the pandemic. Working remotely through email between 2021 and 2022, the band revisited and refined the arrangement before finally recording the song live in Almalbis’ home studio after restrictions eased. The sessions captured the chemistry of the band performing together, with vocals and additional overdubs completed in subsequent recordings before acclaimed engineer Angee Rozul delivered the final mix.

“Emergency” also serves as the first glimpse into the musical comeback of Barbir’s Cradle. The band, composed of Barbie Almalbis (vocals and guitar), Kakoy Legaspi (guitar), Rommel dela Cruz (bass), and Wendell Garcia (drums), will release a few more songs throughout the following weeks, leading to an EP release.

As Barbie Almalbis mentioned in the previous press release, “We’re excited to revisit the greatest hits and misses while also sharing new songs that reflect where we are now in our lives, both as musicians and human beings. This new body of work is more collaborative and intentional than ever. We’ve poured months of hard work into these songs, and we can’t wait for everyone to hear what we’ve created.”

Recognized as one of the defining acts in the Filipino alternative music scene, Barbie’s Cradle has cemented its legacy with celebrated albums including Barbie’s Cradle, Music from the Buffet Table, and Playing in the Fields.

The band’s highly anticipated comeback will be capped by a one-night-only concert on August 1, 2026, at the Music Museum. With balcony and orchestra sections nearly sold out, fewer than 100 tickets remain available for fans hoping to catch the reunion live.

Few tickets are still available via:

https://www.ticketmelon.com/gnn-entertainment-productions/barbiescradlereunion

Music Museum: 0917-513-0909

VIP – PHP 2,900

Includes photo op (6pax/batch), soundcheck access, signed poster

Orchestra – PHP 1,900

Balcony – PHP 1,300 (free seating)

Barbie’s Cradle’s new single “Emergency” is out now on all digital music platforms worldwide via Sony Music Entertainment.

The “paasa anthem” explores the frustration and exhaustion that come from life’s repeated curveballs

Filipino singer-songwriter Gab Cabangon channels frustration and unresolved anger in “Ikot Ulit,” the third official single off his highly anticipated debut EP to be released this year. Described as his ‘paasa’ anthem and ‘galitcore’ track, the pop-rock tune comes from a place of personal uncertainty and professional setbacks, confronting the experience of repeatedly facing broken promises with both grit and emotional exhaustion.

“I think the emotion that really drove the song was mainly frustration,” Gab admits. “I was getting sudden postponements for work-related projects and pitches, and it was a period wherein I had bar gigs that were cancelling at the last minute. I also felt like I couldn’t trust anybody outside of my family and circle of close friends because I felt like people were going to throw me under the bus at any moment.”

Gab reveals that he had always intended to release “Ikot Ulit” a couple of months after “Kama” but later realized how the timing made so much sense in today’s socio-political landscape. “There are so many broken promises happening right now, and the consequences are very real and very frustrating. While I did not write Ikot Ulit with the initial intention of relating it to the political climate right now, I do realize that it’s important to express that frustration through this song.”

While based on Cabangon’s real-life experience, the song intentionally leaves room for listeners to project their stories onto its themes. Its lyrics avoid specificity, allowing the frustrations explored in the track to appeal across different circumstances and walks of life.

“I kept the lyrics quite general so that people can associate the song with their own respective experiences,” he adds. “Just like most of my songwriting, I often start with my experience, then I incorporate the stories of other people to try and make the song more relatable to my listeners. By the time I finished Ikot Ulit, I wanted to make sure that the feelings of ‘frustration’ and ‘anger’ were felt throughout the whole song.”

Sonically speaking, “Ikot Ulit” revisits elements of the artist’s earlier band-driven roots while integrating the singer-songwriter sensibilities he has long established with his solo material. Produced and arranged in collaboration with David Lina, the track embraces a grittier indie pop-rock aesthetic, brimming with dirtier guitar tones, a less strained arrangement, and a heightened sense of urgency that mirrors its thematic vibe.

A notable addition to the final recording is an instrumental bridge that was absent from the original demo, which somehow elevates the level of intensity to the overall sound. The track was mixed and mastered by Shadiel Chan and Jan Fuertez with vocal engineering by John Crupero, further refining the song’s raw yet deliberable sonic identity with just a subtle amount of grace.

Beyond its cathartic energy, “Ikot Ulit” occupies an important place within the broader narrative of Cabangon’s upcoming debut EP. Following “Pieces,” which explored the acceptance of vulnerability, and “Kama,” which finds beauty in peace amidst the cosmopolitan noise, “Ikot Ulit” serves as the next vital phase in a larger road toward healing.

Gab summarizes it all by saying, “I think it’s really about going through the process of healing and learning to love again. That in order to be whole and be passionate about the things we love, we have to allow ourselves to feel, to rest, and, in some cases, to express our frustrations and our anger. I’d like to think of Ikot Ulit as the third chapter that kind of opens a space for everyone to just let it all out.”

Gab Cabangon’s “Ikot Ulit” is out now on all digital music platforms worldwide.

The Bali-based music conference and showcase also introduces an expanded songwriting camp and a Southeast Asian hawker-inspired food experience

Fast-emerging Filipino acts ALYSON, PLAYERTWO, and Novocrane are gearing up to represent the Philippines at AXEAN Festival 2026, Southeast Asia’s leading music showcase and conference, set to take place on August 29–30, 2026 at Jimbaran Hub in Bali, Indonesia.

Selected by AXEAN Festival in partnership with its co-founder and official Philippine collaborator, The Rest Is Noise PH, the three artists have secured spots in the festival’s first-wave lineup. They will perform alongside acts from across Asia and other regions, showcasing their music before an audience of international industry professionals, festival organizers, and music enthusiasts from around the globe.

AXEAN Festival and The Rest Is Noise PH co-founder MC Galang emphasizes that beyond the roster’s individual achievements, their inclusion reflects the depth, diversity, and global potential of the Filipino music community today. “As co-founders of both AXEAN Festival and The Rest Is Noise PH, it’s especially meaningful for us to continue creating opportunities that connect Filipino artists with international audiences, industry professionals, and new markets. Over the years, our work has been centered on building bridges between Southeast Asia and the rest of the world, and seeing more Filipino artists take their place on global stages is a reminder of why that work matters.”

Galang explains that the global push for homegrown artists builds upon The Rest Is Noise PH’s longstanding commitment to music export and international development. “Earlier this year, The Rest Is Noise PH expanded this mission through the launch of our music consultancy and management arm, beginning with AXEAN Festival 2025 alumni ONE CLICK STRAIGHT for global management representation and bookings. For us, these efforts all stem from the same belief: that Filipino artists deserve sustained support, meaningful opportunities, and a place in conversations happening far beyond our borders. We’re excited for what lies ahead—not just for these artists, but also for the next generation of Filipino musicians ready to connect with the world.”

Regional and international artists join the celebration

Also leading the first wave announcement is an esteemed pool of Indonesian artists that reflects the country’s vibrant and eclectic music scene. Among the names confirmed for the maiden batch are top-streamed singer-songwriter Ndarboy Genk, experimental music quartet Basajan, Yogyakarta-based band LOR, Tropical Dessert trio Babon, Jakarta alt-rock band Satu Per Empat, rising singer-songwriter Jo Soegono, jazz rock trio Emptyyy, and R&B/soul star Noni.

This year’s lineup also gets an extra boost from emerging and seasoned acts in Southeast Asia, including Malaysia’s very own indie pop outfit Masdo, alt-rock veterans Pitahati, and genre-defying artists Lil Asian Thiccie x dj magn3sium. Singapore contributes a strong contingent with acclaimed indie rock band Subsonic Eye and experimental collective sub:shaman. Thailand’s thriving independent scene arrives in force through Yellow Fang, INSPIRATIVE, SLOWWVES, and Cupnoodle, while Macau’s Scamper and France’s Treaks heighten the festival’s increasingly global outlook.

Explaining the festival’s curation philosophy, AXEAN Festival co-founder Piyapong Muenprasertdee shares, “Professionalism, live performance excellence, and a clear artistic vision genuinely drive most of our selections—those are the qualities we’re looking for first. However, not every artist meets all the criteria, and this approach is intentional: we also prioritize representing less-heard music scenes. Alongside the most polished, export-ready acts, we make room for artists from locales the wider industry rarely hears from. And the value there is long-term—when those artists showcase at AXEAN, they take the experience and the learnings home, where they help nurture the next generation from their scene, who may go on to reach the global stage further than the artists who came before them.”

AXEAN Festival co-founder David Siow echoes Py’s statements but emphasizes that this year’s edition promises a stronger lineup with global potential. “For audiences, our curation of artists has been geared towards artists with great live sets and who are ripe for export. You can see artists who are about to blow up, artists who will blow your minds, and artists whose future moves will blow you away.”

New program elements

Standing up for its commitment to community-building and innovation, AXEAN Festival 2026 will introduce several new elements in the program designed to strengthen its engagement among artists, delegates, partners, and audiences.

The conference and festival platform will also continue its highly regarded Songwriting Camp, which has become a cornerstone of AXEAN’s artist development initiative since its introduction in 2024.

Siow explains, “The songwriting camp introduced in 2024 (and optimized in 2025) was also born out of our drive to do things right for artists; hence, when we designed the camp, it was something that was only meant for collaborations. We take pride in creating a relaxed and casual environment that fosters creativity and friendships, as we believe the atmosphere contributes to the high quality of the final song outputs. Of course, being in Bali helps, because we can conduct the camp in villas with pools and great vibes.”

The AXEAN Festival team, including Philippine co-founders Ian Urrutia (far left) and MC Galang (fourth from the left)

Further improving the festival experience is a brand-new food and beverage concept inspired by Southeast Asia’s iconic hawker centers and food courts. The initiative will bring together dishes and culinary traditions from across Southeast Asia, giving attendees the opportunity to explore the region’s rich cultural diversity through food.

Py adds, “Few things represent Southeast Asian culture better than its food, so we’re curating regional vendors into the festival canteen. There’s a saying that the way to someone’s heart is through their stomach. Also, I personally think, and have seen, that people connect more genuinely over food and drinks, so we’d rather create the conditions for that than over-program things.”

Apart from the carefully curated lineup of performances and new offerings, this year’s AXEAN Festival will continue its focus on industry development programming through panel discussions, business matchmaking, and structured networking sessions.

Early bird tickets

Early bird tickets are now on sale through www.loket.com/o/axeanfestival, with more artist announcements, conference speakers, and program updates expected in the coming months.

AXEAN Festival 2026 is presented in collaboration with Jimbaran Hub as the venue partner and TuneCore as the main stage sponsor. The festival is also supported by EMPIRE as a stage sponsor; the Embassy of France in Indonesia & Institut Français Indonesia, Embassy of France in Singapour, Centre National de la Musique, and Institut Français as festival partners; The Orchard as the VIP partner; MADVERSE as the primary sponsor of the songwriting camp; KSR and Musicway as secondary songwriting camp sponsors; Sounds Australia as the music exchange partner; and DEBEAT Sunset Road and Millers Records as equipment partners.

The tender pop ballad arrives alongside a music video introducing new characters in Justin’s growing fictional universe

SB19’s justin continues to diversify his artistic expression with the release of his new single, “dahon,” out now via Sony Music Entertainment.

Penned by acclaimed singer-songwriter Maki, the track explores the idea of romance as a steadfast force through life’s inevitable transformations. Metaphorically speaking, the rising P-Pop star likens the lasting power of love to a tree: bending rather than breaking during a storm, but holding still and firmly rooted in its given space despite the changing seasons.

“The tree imagery reflects my understanding of love and commitment as something that remains strong even through change,” shares the ‘surreal’ singer-songwriter. “One of the things that struck me the most is the idea that commitment is not about everything staying the same, but about choosing to remain grounded and steadfast through life’s ups and downs. I also find hope in the idea that after a leaf falls, another one eventually grows. It reminds me that genuine love can continue to renew itself over time, which beautifully reflects the song’s message of a timeless vow in an ever-changing world.”

The song’s visual counterpart expands the theme even further. The official music video introduces audiences to three original characters: Treesha, JahJah, and Brodie. Expanding the immersive creative world that Justin has carefully built throughout his solo career phase, the MV also gives fans another way to connect with his creative endeavors.

“[These characters] are part of that larger world, and they help bring the themes and emotions of the music to life in a more visual and engaging way,” justin admits. “As someone who has always loved cute and memorable characters from franchises like Pokémon and other games, I wanted to create characters that could serve as alternative visual representations of my music and storytelling.”

Moving forward, justin hopes to develop their stories and personalities even further. “Fans can look forward to learning more about them through future releases and, hopefully, through merchandise, comics, or visual storybooks that explore their world in greater detail.”

The release of “dahon” also arrives alongside Justin’s ambitious multidisciplinary art initiative, which bridges music and visual expression. For SB19’s creative director, the project represents a convergence of two creative passions that have long informed one another.

“I hope people will see the beauty and inspiration that can come from combining music and visual art into one experience,” justin adds. “More than just enjoying the song, I want them to feel how different art forms can work together to tell a deeper story and create a stronger emotional connection. If the project inspires someone to appreciate art in a new way, reflect on their own experiences, or even pursue their own creative ideas, then I would consider that a meaningful takeaway from the world of dahon.”

justin’s “dahon” is out now on all digital music platforms worldwide via Sony Music Entertainment. Watch the music video, out now.  

Myles Smith releases his debut album ‘My Mess, My Heart, My Life.’, the most personal and ambitious project of his career to date.

The release arrives at a remarkable moment in Myles’ rise. Earlier this month he kicked off his biggest world tour to date, spanning North America, Europe and the UK, and this November will headline a sold-out show at London’s The O2 – a milestone that sees him sell out one of the UK’s most iconic venues before the release of his debut album.

Speaking about the album, Myles says:

“This album is the most personal thing I’ve ever made. It came from looking back at old therapy notes, memories and experiences that shaped who I am, and trying to make sense of them through music. Every song reflects a different part of that journey – family, love, loss, mental health and self-discovery. More than anything, ‘My Mess, My Heart, My Life.’ is about learning to accept your past, understanding yourself a little better, and finding hope in the fact that we’re all a work in progress.”

Over the past two years, Myles has established himself as one of the UK’s most exciting new artists, amassing more than 4.7 billion streams worldwide, attracting more than 23.5 million monthly Spotify listeners, winning the 2025 BRIT Rising Star Award, earning an Ivor Novello Award for Most Performed Work for ‘Stargazing’ and seeing ‘Nice To Meet You’ become the most played song across UK radio, television and public spaces throughout 2025, while building a global fanbase through his emotionally direct songwriting and powerful live performances. His breakthrough single ‘Stargazing’ is now certified 3x Platinum in the UK, while subsequent releases including ‘Nice To Meet You’ have continued to cement his position as one of Britain’s defining new voices.

His breakthrough single ‘Stargazing’ has now accumulated more than 2.09 billion streams globally, while releases including ‘Nice To Meet You’, ‘Gold’, ‘Stay (If You Wanna Dance)’ and ‘Drive Safe’ featuring Niall Horan have introduced Myles to audiences around the world. ‘My Mess, My Heart, My Life.’ builds on that momentum, bringing together the themes, stories and experiences that have shaped his journey so far.

Built around three interconnected themes – Mess, Heart and Life – the album explores family, grief, identity, mental health, love and self-acceptance, forming Myles’ most honest and revealing body of work to date.

The album’s title serves as both its emotional framework and guiding principle. Across fifteen tracks, Myles revisits formative moments from throughout his life, examining childhood experiences, family relationships, personal struggles and the people who helped shape him.

Opening with the striking title track ‘My Mess’, Myles reflects on the impact of a fractured upbringing and the complexities of growing up. Elsewhere, ‘Grandma’s Place’ offers a moving reflection on family, memory and missed opportunities, while ‘Sertraline’ sees him speak candidly about anxiety, depression and the importance of emotional openness.

Throughout the album, Myles continues to expand the scope of his songwriting. ‘Mary’s Song’ shines a light on the experiences of women affected by abuse and hardship, while songs such as ‘Lifetime’, ‘Dying Days’ and ‘Heaven’ explore love, devotion and the passage of time.

Speaking on ‘Heaven’, Myles says: “‘Heaven’ was inspired by watching some of my closest friends get married and start families of their own. Seeing that kind of love up close made me think about the people who bring peace, stability and joy into our lives. It’s a song about finding someone who makes the world feel a little lighter and realising that, sometimes, heaven isn’t a place – it’s a person”.

Among the album’s standout moments is current single ‘Hold Me In The Dark’, a song centred around connection, reassurance and finding light during uncertain times. Since its release, the track has continued to gather momentum, earning A List support at both BBC Radio 1 and BBC Radio 2 while soundtracking a run of major moments including performances at BBC Radio 1’s Big Weekend alongside Niall Horan, The One Show and Capital’s Summertime Ball.

Earlier this year, Myles was named the recipient of the BRIT Rising Star Award and collected the Ivor Novello Award for Most Performed Work for ‘Stargazing’, while PPL recently confirmed that ‘Nice To Meet You’ was the most played song across UK radio, television and public spaces throughout 2025.

The album arrives as Myles enters the biggest chapter of his live career so far. The 2026 world tour spans headline dates across North America, Europe and the UK alongside a series of stadium appearances supporting Ed Sheeran, before culminating in arena dates across the UK and Ireland this November, including the sold-out headline show at London’s The O2.

With ‘My Mess, My Heart, My Life.’, Myles Smith delivers a debut album that captures not only where he is today, but everything that brought him here.

Alongside the success of ‘Stargazing’, Myles’ catalogue continues to resonate globally, with ‘Nice To Meet You’ now certified Platinum in the UK, while ‘A Minute’ is certified Gold and ‘Gold’, ‘My Home’, ‘Solo’, ‘Stay (If You Wanna Dance)’ and ‘Wait For You’ have all achieved Silver certification.

‘My Mess, My Heart, My Life.’ Tracklist:

1. My Mess
2. Hold Me In The Dark
3. Hate You
4. Grandma’s Place
5. Mary’s Song
6. Sertraline
7. Drive Safe (with Niall Horan)
8. Heaven
9. Dying Days
10. Lifetime
11. Dublin Lights
12. Stargazing
13. Nice To Meet You
14. Stay (If You Wanna Dance)
15. Gold

‘My Mess, My Heart, My Life.’ is out now.

LISTEN HERE 

Myles Smith Online:

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