London band Babeheaven make gorgeous, weightless tunes that are anchored by genuine emotional stakes. On songs like “Seabird” and “God Sent the Baby,” singer Nancy Andersen’s voice simply floats atop the flecks of snares and warm, reverberating chords, as she sings candidly and gracefully about navigating life and love. Their two 2019 EPs, Circles and Suspended Animation, showcase the duo’s tremendous sonic versatility. Andersen and Jamie Travis (along with an additional three members for live shows) are capable of making everything from electro-inflected tunes (“Fresh Faced”) to wistful trip-hop (“Monkey Boulevard”) to glitchy experimental pop (“Sarm”) and sounding totally fluent. The beauty of Babeheaven is that you never know what’s going to change from one song to the next, making them a thrilling live act to witness.

HTRK strike a balance of sounding both quite contemporary and just slightly out of step that makes them all the more distinctive. Their beat-driven ambient is something you might have to yell over to get an overpriced, underpowered cocktail — but at the same time, there’s more depth than hedonism-as-ennui you find in a lot of modern R&B. As lush as HTRK’s music is, there’s always a slight unease running throughout. They don’t lend themselves to overt queasiness, instead letting ripples disturb ever so gently. They put out two records last year, both of which amplify different parts of their sound: Venus in Leo has the simmering beats and lovely sense of dread, while Over the Rainbow veers more towards their ambient side, beautiful if not still.

Born out of the idea of reimagining a group as a sound system, El Guajiro, Chongo and Doctor Keyta, three of the most prominent names in the forward-thinking Colombian music scene, gathered between them the expertise, skills and vision that made Ghetto Kumbé the trailblazing live act it has become. Adding percussion, Caribbean beats and UK bass inspired elements to the mix, they blend traditional West African rhythms with Colombian sounds. Ranging from Cumbia, Palenquero, and more, the outcome is an inevitable and highly energetic dance-floor experience. Two EPs in, their sophomore album Soy Selva elevated their liking for club music with an Afro-Colombian flare. As they cast a light on their roots, traditions, relatability and respect for nature, Ghetto Kumbé, with their touch for dynamic sounds and innovation, are credible representatives of the modern Colombian electronic scene.

Is it a concert? Is it performance art? Or is it a sound installation? Oh, it’s everything, and it doesn’t matter. TENGGER creates a sense of the universe by projecting images and playing the Indian harmonium and modular synthesizer. It feels unconsciously well-planned and comfortable, like an impeccable pattern from columnar jointed volcanic rocks or a hypnotically repeated drone from the resonance of a conch shell. The sound inspired by nature and universe with a philosophical attitude doesn’t miss the texture and provocation of the openly-expressed Krautrock influences.

Fool’s Gold signee HERO is an R&B star for the DIY era. The Canadian-born singer’s recent EP Cry Baby showcases his unique brand of music — a blend of synths, pop, electronic music and R&B to create something he prefers to dub as “VHS pop.” Despite this nostalgic nod, it’s definitely got a futuristic feel. It’s hazy, dark, static and autotune-riddled. His music becomes all the more impressive when coupled with the fact that HERO not only wrote each lyric, but produces his captivating records himself — experimenting on both sides of the spectrum. Sometimes the singer manipulates his voice to feel as though it’s just another facet of the drum-heavy production, while at other times his vocals are clearly the focal point. His mastery of both aspects means he need not look to outside inspiration, and thus results in a rather incubated and distinct sound — one that is truly his own.

I had never heard about the Australian band Flyying Colours (note the double “y” and “u” as not to be confused with progressive rock super group, Flying Colors) until I stumbled them upon a SXSW 2020 playlist. They’re an AMAZING sounding band, at least on record. Yeah, it’s shoegaze, but it’s something else that’s not so easy to put your finger on. One of their earlier tracks, “It’s Tomorrow Now” the band shows they can seriously rock their hearts out, while their newer material is fresh and melodic, but remains consistent with the band’s dreamy essence. Flyying Colours will definitely go on my list of bands to catch live on 2020.

Melbourne experimental pop songwriter Becky Freeman records world-building conceptual collections as Sui Zhen. On 2015’s Secretly Susan, she adopted the persona of a social media avatar (“I am a creature without a tangible home”) in songs that mixed toppling electro dub, chillwave-esque pop, Pizzicato 5-vibes, and bossa nova. Her brilliant third album Losing, Linda was inspired in part by AI and in part by her mother dying from pancreatic cancer — she sings like a robot, but one who’s feeling all too human. Despite that conceptual framework, it’s never too heavy — Freeman has an ability to place big concepts in music that feels airy, delicate, and open. And sometimes the material is both comforting and frightening, like on the surprisingly swinging “Mountain Song,” where she asks, “Can you let go and just be comfortable with the fear you have for the unknown?/ What could be out there that’s scarier than your own mind?” It often is scarier, though, and she seems to know that — but you create art amid it, and keep going anyway. As she sings in the shiny, ebullient robo-pop of “Perfect Place”: “Things you can’t put off, do it now, do it now.”

Dry Cleaning is one of the coolest things right now. Not just one of the coolest bands — one of the coolest things. They’re the chillest while also being quietly aggressive, telling it exactly and specifically how it is. Keep an ear to the ground and be prepared to change your plans to see them. They’re instantly iconic, so classic and so fresh. Hopefully, the fact that they’re playing at SXSW means that there’s more music coming soon… fingers crossed.

The Orielles are expertly tuned musicians and poets playing undercover in a shimmering indie rock band. The U.K.-based trio’s guitar solos melt down your soul while the lyrics hit you so personally in the heart that you don’t know what to do. Their most recent album Disco Volador, released Feb. 28th on Heavenly Recordings, still has a veil of their usual intensely passionate and emotional melodies, but with a funky/danceable twist. It takes you to space in a rocket full of tears, love, and curiosities. Catch them live and you’ll do more than just sway side to side.

Philadelphia’s Control Top play wiry post-punk with lyrics that fire like Gang of Four salvos, anti-capitalist political slogans, or a clenched fist. As vocalist/bassist Ali Carter shouts on the title track from the band’s debut Covert Contracts, “Everything looks like a commercial/ It’s a brand to be controversial.” (True.) Carter remains front and center throughout the record — the drums and guitars seem to derive energy from her howls and shouts — but it’s clear the group is collaborative and part of a larger community. Guitarist Al Creedon, who’s also worked with Priests, produced the record, which was released on drummer Alex Lichtenauer’s label Get Better Records. (Lichtenauer’s put records by other Philadelphia bands like Sheer Mag and Empath.) This is anthemic, revved-up music where you may hear the Slits one moment, Bikini Kill another; it’s more present than that, though, and part of its own very current and vital scene. It’s angry, and it’s welcoming, too — Control Top offer a no-wave dervish that plows you over as it picks you up.

Brighton, UK foursome Porridge Radio aren’t the type of band that washes up on the shore every day. Their 2016 debut full-length was a promising record recorded in a garden shed, but their forthcoming 2020 follow-up Every Bad could very well be the earth-shattering arrival of one of the best young bands on the planet. The group signed to Secretly Canadian and released two singles — “Lilac” and “Sweet” — that would give anyone that feeling of urgent elation that necessitates digging up every bit of online music or press that exists. Lead vocalist Dana Margolin possesses a rare voice with both disconnected cool and deep-rooted, benevolent passion. While her delivery is occasionally detached, her lyrics couldn’t be more down to earth — there’s humor, self-loathing and a brazen desire for connection and understanding. Their sound spans grand punk, snappy indie rock and lo-fi pop, but Margolin’s dark, magnetic presence and perceptible search for meaning will transcend listeners’ stylistic preferences.

Great Grandpa have put out some really excellent indie rock over the past few years. Their first album Plastic Cough opens with an anthemic banger in “Teen Challenge” — this track gets stuck in my head all the time. The band’s 2019 album Four of Arrows evolved their sound naturally, to a maybe more mature place — arrangements got a bit more sophisticated, production more complex, and new genre influencers were introduced — but not to worry, the anthemic bangers and emotional heft are still there. “Mono no Aware” has to be one of my top songs of 2019.

The Southern-style of Chattanooga based rap artist YGTUT can be summed up in one word: honest. Whether ignited by his confidence on more bombastic production or drawn into the sermon-like delivery of his more introspective records, YGTUT never seems to let a verse go to waste. Chock-full of what can only be described as honest assessments of the world around him, the Tennessee preacher’s son draws from emotions, feelings and experiences he’s lived himself. This utter transparency and commitment to truth, which is present and accounted for on almost every record, doesn’t only invite listeners into YGTUT’s musical world but introduces listeners to the man behind it all. His most recent release, a seven-track EP titled I.O.U., continues to build on his growing catalog and define the man behind the mic. YGTUT is a name we will undoubtedly be talking about for a long time as he continues to place truth and honesty at the forefront of his music.

Proud Wergaia / Wemba Wemba woman Alice Skye has been steadily gaining a reputation as one of Australia’s brightest new faces since releasing debut single “You Are The Mountains” in 2015. Her latest single “I Feel Better But I Don’t Feel Good” is her first on Bad Apples Music, the prolific Indigenous record label founded by Yorta Yorta rapper Briggs. The label aims to use music as a platform for social change and fostering the talent of Aboriginal and Torres Strait Islander artists. Steeped in success from the outset, Alice Skye’s raw musicality , sensitivity and maturity well beyond her years continues to turn heads across the country and now the world. It’s just Alice and her piano. Nothing more needed.

Zeroing in on concepts of renewal, often through meditative repetition, the Copenhagen-based composer and musician Astrid Sonne combines the computer-generated with the organic, an approach that allows her to maintain emotional resonances within an experimental mix. She makes complicated, computer-based music with a beating heart, which is not an easy task. She sews together viola, voice, digital washes, and 1s and 0s in ways that are engaging (and, with your headphones on, all-enveloping). Sonne’s debut album, 2018’s Human Lines, blended frenetic coded soundscapes with minimalist cloud formations and tumbling glitch cathedrals. Last year’s Cliodynamics EP put her viola at the forefront amid denser soundscapes (think buzzing digital orchestras), but it ended with a peaceful (and jazzy) acapella choir, “Strong, Calm, Slow,” a song you could imagine surfacing on a bookstore café’s soundtrack. One of that EP’s song titles is “To Change is to Continue,” an apt slogan for Sonne’s continuously morphing compositional approach.

Pom Pom Squad’s music is simultaneously blunt and serrated. The group subverts tired notions of things like cheerleaders or gender tokenization while making music that hinges not on calculated irony but the unvarnished truth. The Brooklyn quarter’s standout single “Heavy Heavy” approaches minor grievances like missing your train and existential depression with the same bleeding edge, as guitarist and lead singer Mia Berrin broadcasts every bit of anger and frustration in her vocals and sludgy riffs. Ow, their 2019 EP, is an intimate portrait of not only struggles, depression, and mental illness, but the exhaustion that all of those issues bring. But the instrumentation itself—all fuzzy guitar, pounding drums, and murky chords—creates a sense of catharsis, like smashing an item from a person who wronged you.

If Jean-Paul ‘Bluey’ Maunick from Incognito had been born in the middle of The Carnaval Of Brazil in the streets of Rio de Janeiro, I think his music would sound a lot like La Garfield. It’s hard to write about music without drawing these type of comparisons, but sometimes you just have to. La Garfield works great on so many levels. It’s happy music, made to celebrate life while having a piña colada by the beach on a warm sunset in Acapulco. With funky beats, horns and densely-harmonized chords played on a rhodes piano over latin percussion, La Garfield seems like a serious candidate to follow the legacy of latin dance giants Los Amigos Invisibles for many years to come.

Nestled down in the capitol of Texas is an artist with an inherent star quality that has separated them from the rest of the pack — the Midwest-born, Austin, TX native soul singer, Alesia Lani. With a distinctive soulful voice combined with electrifying performances Alesia Lani has built up a lore all her own that keeps her in high demand. With her undeniable star quality, the southern songstress has officially put everyone on high alert that she is here to stay.

London singer/songwriter Beabadoobee went viral with the first song she ever wrote on a guitar. That’s a cool story, but it’s not always the best way to launch a career. Overnight success can lead to a quick burnout, but Beabadoobee is one of the fastest-evolving new artists out, and she’s still only 19 years old. Now she’s signed to independent record label Dirty Hit (The 1975, No Rome, The Japanese House) and she’s built her acoustic bedroom tunes into grunge-y, ‘90s-inspired jams with rich production and sophisticated songwriting. Bea’s 2019 EP Loveworm showcased her potential as a true rockstar in the making, and she’s been putting in time on the road delivering shows good enough to convert casual listeners into fans. “I went into this thinking this was going to go nowhere,” Bea says. “I was just doing it for fun. So every time you make art, do it for fun. With no expectations.” Fun isn’t always a word you associate with the slacker rock space Beabadoobee thrives in, but her energy is contagious.

New York’s No Wave scene was easy listening only for sadists, and nobody embodied that like Lydia Lunch. With her solo work, her spoken word records, and her infamous early group, Teenage Jesus and the Jerks, she turned macho rock posturing on its head and thrashed it around for her pleasure. The Jerks in particular were too punk for punk, mincing neither words nor terse guitars. She appeared on Sonic Youth’s “Death Valley ’69,” one of their hardest tracks in no small part due to her presence, and also recorded a series of albums with late Birthday Party guitarist Roland S. Howard, most notably 1991’s noise rock landmark Shotgun Wedding. Despite her resume, Lunch hates resting on laurels: she produced Philly punks Pissed Jeans’ 2017 smash “Why Love Now,” and her current group, Lydia Lunch Retrovirus proves that classic, squally, noisy New York confrontation isn’t dead.

Caroline Rose is gearing up to have one of her biggest years yet. Her new album Superstar comes out right before Music Week begins, ensuring new waves of energy and excitement at her live shows. If you couldn’t tell by the title, the album is drenched in Los Angeles sunshine, complete with the excitement and earnestness of someone packing up their life and moving out to the City of Angels to make their dreams come true. If you love insanely well written pop songs with a tinge of psychedelic rock and r&b, make her a priority on your list this year. If you’re not familiar with Caroline’s live set, get ready for a mixture of impeccable musicianship and a hilarious and biting sense of humor, which makes for an unforgettable live experience. Get ready to dance, laugh, and maybe cry with your friends while you discover your favorite new artist.

Since their EP Down In The Basement, the Mauskovic Dance Band has brought their enticing cross-over of Afro-Caribbean rhythms, cumbia and space disco across world stages, selling out venues and providing a full dancing experience with a very hypnotic twist. The five members of this Amsterdam-based band are no strangers to experimentation, relying on their knowledge while reinterpreting elements of 60s and 70s Afro-Latin psychedelia through a modern, European approach. The result is in a bombastic mixture of effusive sounds. Released under London-based label Soundway Records, their self-produced debut album The Mauskovic Dance Band keeps inherent their curiosity to explore new sounds and rhythms. As they further navigate through cosmic soundscapes in a unique blend of psychedelic cumbia, chichi, classic afrobeat and picó, and so much more, the inevitable willingness to keep dancing is a constant in their performances and vision.

After attending The Great Escape in 2019, I came back with a renewed hope on upcoming English rock music (something I hadn’t been interested in for a while). Squid and Dry Cleaning were present, but the ones who shocked me the most were Black Country, New Road. This 7-piece arty post-hardcore band sound far from any current hype and even further from anything immediately gratifying or radio-friendly. Their music recalls the dryness and anxiety of some of my favourite 90s bands. However, despite most of the indie-rock and post-hardcore acts sounding like renewed versions of their influences, Black Country, New Road have defined their own character adding beautiful melodies of violin and saxophone and certain Eastern folkloric vibe to the mix. With just two tracks released but tons of intensely breathtaking shows, they have become one of the most interesting and promising acts of the moment.

Australian artist Didirri has a self-proclaimed ethos of creating music for “lovers & over thinkers”, an ethos that shines through in his heart-hitting songwriting. From 2017’s powerful single “Jude” (“My head don’t work in the usual way”) to his latest “Raw Stuff” (“It’s not how I planned it, but life has some raw stuff”), Didirri’s lyrics and crooning Rufus Wainwright-esque vocals stir the deepest reaches of the mind, all while going straight for the heart.

A turn of phrase no doubt overused in the music world, but in this instance, it couldn’t be more accurate — Jadu Heart is a duo simply unlike any other. Sonically, they sit in a mystifying, self-serving atmosphere that allows them to weave their elements — melancholic indie, neon-tinged club music, traditional folk and contemporary R&B, to name but a few — with effortless finesse. The musical tapestry they’ve created is a cohesive, narrative-led journey into a universe that spans such conceptual elements as alter egos, numerous characters, a comic book, multiple musical projects and chapters yet untold that far extend all of that. The first thing you may notice are their masks, but beneath them is a wildly inspired story ready to be enjoyed from the first metaphorical page.

I first came across Disq when I saw they were supporting Shame on some North American dates last year. I think Shame’s drummer Charlie Forbes sent me some waffly, drunk message saying they were otherworldly and worth checking out. Weirdly, Charlie is sometimes actually quite astute when he’s out of it, so I went straight to their single ‘Communication,’ which was epic in the way that only a punk band signed to Saddle Creek could be. Multiple guitar solos, beautiful harmonies, and a sense of Fire and Skill stopped me in my tracks, and I’ve not been disappointed since. A new 2020 record called Collector tightens everything up but sees them lose none of their early charm.

London-based Arlo Parks first caught our attention with her debut single “Cola,” released in November 2018, which stopped us in our tracks. Parks’ voice is wistful and melancholy with a jazz-influenced smoothness and a Billie Eilish-esque ephemerality. Singer, songwriter, poet and rapper, Parks makes pop music with soothing harmonies and crooner vocals that belie morbid lyrical imagery. The literary quality to Parks’ writing elevates her music into left-of-center pop for intellectuals. 2019 was a massive year for Parks, seeing the release of debut EP Super Sad Generation in April and her follow-up EP Sophie in December and making the NME 100 and the BBC’s Sound of 2020 lists.

Marlon Craft breathes hip-hop. His debut album Funhouse Mirror is a mature body of work, filled with punchy kick drums and live instrumentation glazed with impactful lyrics. Growing up in New York’s Hell’s Kitchen, Craft had no choice but to sacrifice his days, nights, weekends, and holidays to have a career as a rapper. He consistently uploaded albums and music videos until he landed a deal with Same Plate Entertainment in 2018. The following year, he elevated his status with his own brand of poised wordplay, freestyling on radio shows like Sway’s Universe, in which he claims he’s a blend of Nas, Talib Kweli, and Mos Def. But songs like “Gang Shit”, a nearly 6-minute track that dives deep into the systemic inequalities plaguing America’s minorities, prove that he has more than witty wordsmithing in his arsenal. At just 27 years old, Craft is steadily climbing towards hip-hop nobility with blessings from T.I. and Killer Mike.

London-based Los Bitchos are playing music unlike anyone else. This five-piece describes themselves as “instrumental psychedelic sunshine cumbia” which, if you hear that mixture in your head, is incredibly spot on. Bridging the gap between rock and the pulsing beat of Cumbia — their music injects the listener with a groovy boost of energy. All of their tracks are completely instrumental — some of which are reminiscent of early Rodrigo y Gabriela, with a garage rock edge. For fans of Khruangbin and Kikagaku Moyo: SXSW will be their first time performing in the United States, so make sure you take the time to seek them out!

Fat Tony became something of a meme — as legit a path to stardom as any these days — last year when he posted a short clip on his Twitter mashing up Brooks and Dunn’s “Neon Moon” and Too $hort’s “Blow the Whistle” at a live show. That might be a novelty to the rest of the 49 states, but it shows how very Texan he is. The Houston native is very much a product of the city’s wide spread, soaking up its signature hip-hop, as well as country, emo, and pop-punk. Like SLABs swerving on I-45, he never stays in one lane. He can release his 2018 album 10,000 Hours on punk stalwarts Don Giovanni and spit fire on Charge It To The Game — his collaboration with producer Kyle Mabson which takes its name from Silkk The Shocker’s southern hip-hop second album — and sound natural doing it all.

Artists with international backgrounds often find themselves stuck either in the traditional or the contemporary. Bogotá-raised, New York-based electro-pop duo Salt Cathedral is a rare pair, finding themselves comfortably nestled in the middle. Refusing to stick to one stereotype, Nicolas and Juliana create lush pop soundscapes where tropical and city meet. You’ll never find yourself standing still, as their island melodies and soft but persistent percussion will soon have your head, hips and entire body swaying along to their infectious rhythm. With only three EPs and a handful of singles, the pair has managed to entrance thousands of listeners with both their studio and live performances. This year’s SXSW performance won’t be their first, but if it is yours, I highly recommend getting lost in the jungle of their candied vocals and spicy pop beats.

The Blind Suns make me think of the sun, ocean breeze, surfing, and psychedelia, but never California. It’s more like Baltic and Atlantic. Maybe that’s why Charles Rowell from Crocodiles decided to produce their second album Offshore. However, the real attraction of The Blind Suns comes out when you watch their live performance. Under the influence of 60’s psych-surf and the 80’s-90’s shoegaze/dream pop era, the French-Polish duo makes a perfect chemical synergy on the stage — Dorota’s performance and attitude could be compared with Poison Ivy from The Cramps. The last time they performed at Hotel Vegas, they were discovered as one of the sexiest bands of SXSW 2018 by Irish magazine Hot Press, but that’s just a part of their show. It’s beyond sexiness.

I’m sure she’s not aware, but Margaret Glaspy and I lived in Boston at the same time. That’s probably why I relate to her vibe. Her music is like the universe. It seems to keep moving and evolving in an ever-expanding wave. After an exquisite, self-produced LP released in 2016, where she showed off her amazing unique timbre mostly over a groovy bed of stripped down folk rock arrangements contrasted by some complexity in form and harmony, Margaret now seems more confident to explore with synth textures and voice effects. This is evident on ‘Killing What Keeps Us Alive’, the first track off of what I’m guessing will be her next album under ATO Records, which I think we all should be really excited about. Hats off to taking risks without compromising artistic integrity. She’s just too good. Go listen now!

Reality Club shows what Asian indie music fans get into. In the beginning, the songs were danceable, dreamy, catchy, a bit rocky and easy to listen to for any young people who like musicians such as Last Dinosaurs — and then, there was Instagram. The band’s front-woman, Fathia Izzati, who now has more than 400k followers on social media, knew how to communicate with her fans and make them love their music. It was the story in 2017 when they released their first album Never Get Better which included their most beloved dream-pop song “Is It The Answer”. Two years later, the band came back with the second album What Do You Know? They show layered and uneasy emotion through well-produced garage rock songs, and they know how to throw themselves at their live performances.

“Keep Austin Weird” is a mantra you will often hear and see all throughout the city of Austin. It’s not just something that people say — from life to music, Austinites keep it weird. That brings us to the out-of-this-world band Capyac, who look like they’re from another planet. But when you hear their music, — mixing house, funk, some hip hop, R&B, soul, and Daft Punk-esque eurodisco to create smooth, body moving grooves — you know Capyac is from another planet. Whatever planet George Clinton and Parliament Funkadelic came from, Capyac must be from its moon.

Two friends from a small town west of Dublin, Tebi Rex are among the rising hopefuls eager to prove Ireland’s worth as major players in hip-hop and urban music following the success of Hare Squead, Rejjie Snow and Kojaque. Under the eaves of the Word Up collective, Matt O’Baoill and Max Zanga have created a sound that sits perfectly at the intersection between dubby, club beats, melodic pop choruses, and a hard-worn trappy flow. Blurring the genres, they’re picking up cues from the likes of Odd Future, Kanye, and Childish Gambino alongside early Chance mixtapes. The result is something with real potential to break through commercially and their debut album, The Young Will Eat The Old was one of last year’s best under-the-radar releases.

Pearla, aka 23-year-old Nicole Rodriguez, delves delicately into the past throughout her delightful, pensive debut EP from last year: Quilting & Other Activities. She asks herself on one song, “Can you forgive yourself for missing the last get-together? / It’s alright to stay inside if you think that will make you feel better.” It’s like she’s questioning her own decisions while simultaneously defending them. This dichotomy appears again and again as she expertly weaves folk and singer/songwriter fare into a twinkling mix of acoustic treasures. Equal parts Norah Jones, Waxahatchee and My Morning Jacket, she plays with psychedelia and Americana while leaving her own personalized stamp on traditional folk. Any room the Brooklyn singer plays feels as much like a poetry reading as it does a hymn sampler.

Houston-based dance rap wunderkind Tisakorean demands a physical response. His vocal performances are like a cartoon fight cloud, understated flows doing battle with enthusiastic yelps and barked refrains. Hits like “The Mop” and “Dip” are gleefully unhinged, succeeding behind the 2-year-old’s considerable charisma and knack for easy-to-learn dance moves. Tisa expanded his musical universe on his 2019 debut mixtape, A Guide To Being A Partying Freshman, and has since been championed by stars like Lil Uzi Vert and Chance the Rapper. Tisa’s music is distinctly modern but evokes the ringtone rap age, when sparse beats and infectious hooks ruled the charts. He’s mostly known for his success on platforms like Triller and TikTok, but there’s no doubt that Tisa will bring his devilish energy to the stage.

Hong Kong is a city which has been — and is going — through turbulent times. In these moments, it is comforting to turn to the sensitive and contemplative music of Olivier Cong. A singer songwriter, composer and multi-instrumentalist specializing in introspective and atmospheric soft depths, his creations provide supple gusts and delicate howls without a hint of weakness. For his is a gentle tide — calm but laden with persistent intent, each movement gracefully deliberate and highly considered. Leonard Cohen, Damien Rice and Radiohead mark the reference points on his musical map, though he ploughs forward in a direction all his own. On the strength of his 2018 LP A Ghost And His Paintings, Apple Music selected Cong as their first Hong Kong Spotlight Artist. The follow-up release Through The Window I See No Star was a live recording of Cong’s ambitious performance at St. Andrew’s Church. Invitations to compose for the Hong Kong Ballet and Shanghai Opera House, amongst others, are a testament to his talent, pedigree and quiet confidence.

With vital music often coming out of tough times, it’s really no surprise that the slew of thrilling, punk-inspired guitar acts breaking out from the UK continues apace. So it is that Irish five-piece The Murder Capital arrive in Austin, with a highly deserved reputation in Europe for their blissfully unforgiving music and incendiary live shows. Drawn from the same Dublin scene as Fontaines D.C., they are the darker, more theatrical fellow to Fontaine’s anthemic pub brand of post punk. 2019’s Flood-produced coming of age album When I Have Fears showcases the vast emotional landscape they operate inside, whilst simultaneously pinpointing the tenderness and beauty in brutality they revel in. Sublime art-punk rock at its best, and indeed best experienced live. Make beelines!

New Zealand sisters Clementine and Valentine Nixon took inspiration for the name of their musical project, Purple Pilgrims, from lives spent traveling. Spending time in Hong Kong and China, and later touring throughout the world with Ariel Pink and Gary War among others, the sisters returned to New Zealand, playing their first shows together in early 2011. They left again after the Christchurch earthquake wrought havoc on the city in February. Despite the upheaval, they released their debut 8″ later that year on Pseudo Arcana, and went on to put out a 2013 split with tourmate Gary War on Upset the Rhythm, as well as their first LP, 2016’s Eternal Delight, on Not Not Fun. They returned to their New Zealand roots for their most recent LP, 2019’s Perfumed Earth which came out on Flying Nun. It’s an otherworldly, ethereal collection of songs with suggestions of psychedelia to recall the constant motion of their lives.

Sea Moya are a German duo based in Montreal. The band’s frontman, Elias Foerster, is a prolific DJ, and the energy he brings behind the DJ booth is also a cardinal feature of Sea Moya’s live show. The band’s funk-laden electronica regularly navigates afrobeat and krautrock rhythms. They offer a unique and energetic sound that surged through the streets of Austin at last year’s SXSW showcase. In 2019 the band toured America supporting Maribou State. You’ll likely hear some of their standout Falmenta album, or last year’s singles “Blown” and “Flourish” — unfortunately this year the band won’t feature Elias’ signature red hair, but even with a shaved head the show you’re going to get makes them an unmissable act at SXSW 2020.

Sierra León has made their name as one of the most interesting Latin rock acts to see live. A psychedelic five-piece from Tepic, Nayarit, they describe themselves as travelling on a journey of constant experimentation. Mixing electronic and classical rock music with African rhythms and jazzy structures in dark, yet passionate songs, they ultimately find their most brilliant moments when showing the influence of traditional Mexican art and music. This is especially present on their most recent EP Hipersomnia pt 1 (2018), which tells the tale of a character who takes refuge in his dreams after a romantic disappointment and searches his conscience for direction in love and life.

Jack River (real name Holly Rankin) is the embodiment of Australian millennial pop of the now. River is a master at crafting psych-tinged pop rock songs that explode with euphoria, which is no small feat especially given that her much adored debut record Sugar Mountain was born out of the unthinkable tragedy of the loss of her sister in a terrible accident. From that loss, Rankin found healing in songwriting, in creating new worlds to escape into and in filling those worlds with boundless hope and joy. The result is electric in the best way.

Hailing from Glasgow’s increasingly fruitful underground scene, you can spot one of flamboyant troupe Walt Disco’s fans from a mile off: twenty times better dressed than anyone else in the room, they’re the ones who look like a tribe worshipping at the altar of Adam Ant and the late ’70s New Romantics. It would be easy to accuse a band as aesthetically on point as this quintet of style over substance, but — for their next trick — they’ve also got some proper songs to boot. “Strange To Know Nothing” begins with a hysterical trill from frontman James Potter (a man blessed vocals so theatrical it’s one step away from opera) before slinking into a synth-led stomp. Recent single “Dancing Shoes” is a seductive blend of gothic noir and shimmering new wave, while “Cut Your Hair” boasts an irrepressible dance floor bounce. Going into 2020, Walt Disco feel poised for something special.

NUXXE has been one of the coolest underground collectives since 2016. However, 2020 seems to be the year when their integrants finally breakthrough: Coucou Chloe is already known in both music and fashion environments, Sega Bodega has just published his first album and Oklou’s poppier recent productions augur an important raise. However, the one appearing in most of the “who will kill it in 2020” lists is Shygirl. Listening to her recent tracks “BB” and “Uckers” it’s impossible to deny it: whispered sexually-charged bars over weird-as-fuck grime and trance productions by Sega Bodega. This places her in between a pervy, queer club scene and hip-hop (similitudes with the early Azealia Banks are evident) — her productions have a dark magnetism that gets you coming back to them. We are all pending her next steps, but it’s pretty clear this is gonna be a crucial year for her.

Feminist powerhouse YAYOI DAIMON began her career as a hip-hop dancer, broke through with girl group rhythmic and collaborations with artists like SHINGO★Nishinari and AKKOGORILLA, and evolved into a completely self-produced act. Her music embodies a broad set of influences: reggae, old-school hip-hop, dancehall, and her own unstoppable message of self-expression and freedom. Feel her energy in singles like “NO BRA” and unapologetic twerk banger “KETSUFURE”.

Jon Auer and Ken Stringfellow formed The Posies in Bellingham, Washington just as grunge was about to explode, but their sunny vocal harmonies and infectious pop hooks set them apart from the angsty Seattle scene. Instead, they cemented power pop’s influence on indie rock. Producing their best known work for DGC — Dear 23, Frosting on the Beater, and Amazing Disgrace, which yielded hits like “Dream All Day” and “Golden Blunders” — but quickly growing disillusioned by major labels, they book-ended their first decade as a band with staunchly DIY efforts (1988’s Failure and 1998’s Success for indie imprint PopLlama). Performing with R.E.M. and Big Star while on hiatus, The Posies caught a second wind with 2005’s Every Kind of Light, continuing their revival with 2010’s Blood/Candy and 2016’s Solid States. This new era sees the duo, with drummer Frankie Siragusa, utilizing well-honed pop sensibility as a springboard for electronic and vocal experimentation. Now searching for a new label, The Posies bring material from a forthcoming album currently in the works to SXSW alongside their legendary back catalog.

UK band Petrol Girls’ post-hardcore/indie rock blend has made them one of the most talked-about new punk bands around — just one listen to their great 2019 album, Cut & Stitch, and it’s no surprise to learn they’ve already landed tours overseas with Refused, Thrice, and La Dispute — and they seem poised to finally leave their mark on US audiences this year. They’ve got an intense, hard-hitting sound, but they don’t shy away from clean production or a catchy chorus, making their attack just a little more approachable without sacrificing any of their raw power. And the intensity in the music is matched by powerful lyrics that the band themselves have deemed “raging feminist post-hardcore.” Raging indeed.

Glaswegian producer, singer, songwriter and label head Sega Bodega completed a two year arc of self-discovery and transformation by announcing his debut album Salvador for release in February 2020. He heads up the acclaimed NUXXE label with the equally-impressive Shygirl, both of who had a huge 2019. Bodega has had a creative hand in countless projects, working with artists like Oklou and Cosima. His most famed, however, would be his production work on Shygirl’s track ‘BB’ which topped many end-of-year, best-of lists including Dazed, Fader, FACT and The Guardian. But it’s on his 2018 solo EP self*care where he really shines. It’s a highly accomplished body of work that recalls the early works of SOPHIE and Amnesia Scanner, while adding the uniquely Sega Bodega touch. R&B morphed with kinetic club music and a lace of gremlin-like vocals makes self*care one of the more interesting experimental releases of recent times, and a sign of very exciting things to come.

Abstract beats, aggressive and punkish rap, and an overwhelming energy are the hallmarks of Tokyo-based hip-hop trio Dos Monos. As artists Zo Zhit, TAITANMAN, and Botsu demonstrate on their debut album, Dos City on Deathbomb Arc, their prog rock and free jazz influences combine with fascinating literary and philosophical lyrics to create a unique and formidable odyssey into jazz-rap.