Tag: folk

Spotlighting the Artists To Watch in 2024

It’s a new year, and that means it’s time to predict which artists will make their mark in 2024. Continuing our annual Artists To Watch campaign, we’ve expanded the list to feature even more artists across many more genres. 

Along with streaming data, we tapped our North American music team and editors of our playlist brands—Viva Latino (Latin), Pop Rising (pop), Hot Country (country), juniper (folk), New Noise (rock), Lorem (indie), R&B Rising (R&B), Most Necessary (hip-hop), and mint (dance)—to help select the 90 rising talents featured below. You can also find all of our picks rounded up in one convenient spot with our brand-new Artists To Watch playlist. 

You’ll find Musica Mexicana crooner Chino Pacas among Viva Latino’s picks, and introspective hitmaker Teddy Swims included in Pop Rising’s selections. Country and folk singer-songwriters MacKenzie Carpenter and Chance Peña made Hot Country and juniper’s cuts, respectively, while all-women rock band The Beaches and moody indie songstress Chappell Roan were tapped by New Noise and Lorem. Meanwhile, South African vocalist Tyla, Texas rapper That Mexican OT, and Greek electronic producer Argy were recognized by R&B Rising, Most Necessary, and mint, respectively. 

Who else should you keep an eye on in 2024? Keep reading for the full list of Artists To Watch. 

Viva Latino’s Artists To Watch

Bellakath
Chino Pacas
Dei V
Estevie
Gonzy
Jasiel Nuñez
Junior Zamora
Saiko
Xavi
Yami Safdie

Hot Country’s Artists To Watch

Anne Wilson
Dylan Gossett
Graham Barham
Lauren Watkins
Mackenzie Carpenter
Matt Schuster
Michael Warren

Owen Riegling
Sam Barber
Wyatt Flores

Pop Rising’s Artists To Watch

Aidan Bissett
Alexander Stewart
bludnymph
Emei
Isabel LaRosa
Matt Hansen
Meg Smith
METTE
SNOW WIFE
Teddy Swims

juniper’s Artists To Watch

Bo Staloch
Chance Peña
hey, nothing
Jack Van Cleaf
Kara Jackson
Mon RovÎa
Paris Paloma
Richy Mitch & The Coal Miners
Searows
Tiny Habits

New Noise’s Artists To Watch

Amira Elfeky
Destroy Boys
Jack Kays
Jhariah
julie
Scowl
Teen Jesus and the Jean Teasers
The Beaches
The Last Dinner Party
ThxSoMch

R&B Rising’s Artists To Watch

Amaria
Bellah
Chxrry22
Elmiene
Jordan Ward
Khamari
Lekan
Leon Thomas
Naomi Sharon
Tyla

mint’s Artists To Watch

Argy
BUNT.
DBN Gogo
HoneyLuv
Knock2
LP Giobbi
Mochakk
Sammy Virji
Shermanology
Uncle Waffles

Lorem’s Artists To Watch

Abby Sage
bar italia
Chappell Roan
Frost Children
Hannah Jadagu
hemlocke springs
Provoker
sign crushes motorist
waterbaby
Wisp

Most Necessary’s Artists To Watch

310babii
41
BabyDrill
BigXthaPlug
Hunxho
Lay Bankz
ODUMODUBLVCK
Skilla Baby
That Mexican OT
Veeze

Press play on our Artists To Watch playlist to discover the sounds of all the artists we’re expecting to make waves in 2024. 

Our New Playlist juniper Cultivates a Space for the Next Generation of Folk Music

In every generation, folk music captures the hearts, minds, and souls of its listeners. From Bob Dylan and The Mamas & the Papas to Simon & Garfunkel, Leonard Cohen, and Tracy Chapman, the genre has maintained a strong and comforting presence throughout the ages, one that introduced a capacity for experimentation and innovation. The early 2000s showcased the works of Sufjan Stevens, Fleet Foxes, Sharon Van Etten, and Bon Iver. The 2010s saw the rise of The Lumineers and Mumford & Sons. Now listeners have Noah Kahan, Lizzy McAlpine, Joy Oladokun, and Searows

juniper is Spotify’s new home for budding and popular folk and acoustic songs from the latest crop of contemporary artists making the genre their own. It’s a space for handcrafted tracks that rise to the top through both organic cultural conversations and our Fresh Finds ecosystem. 

“While folk music has always maintained its presence, there is a fresh wave of relevance sweeping through Gen Z right now that is hard to ignore,” says Carla Turi, Editor, Folk & Acoustic Programming. “At the heart, folk is rooted in raw authenticity and storytelling, which feels vital in a post-pandemic digital age. It’s always been music for the people, by the people. There is such a timeless nature to the space and its ability to provide a sense of peace to listeners when they need it most. Whether it’s ‘Suzanne’ by Leonard Cohen or ‘Growing Sideways’ by Noah Kahan, listeners are finding their own story within these songs.”

Named for a young green juniper tree, the playlist’s title evokes the cycle of life and the natural environment. Folk’s inherent connection to nature and tradition paired with the genre’s DIY ethos serves as a place for amplification and representation of this budding community.

“This current era of folk music is swiftly growing, thanks to the likes of Noah Kahan breaking boundaries and opening up the funnel for new Gen Z folk artists,” says Jackie Augustus, Lead, Country & Folk, Artist Partnerships. “We’ve seen folk continue to evolve as more and more artists are utilizing elements of the folk sound through fusion with other genres. Artists right now are perpetuating a tradition that’s been alive for centuries, and now they’re driving the narrative with their own experiences that center around personal struggles and navigating the world around them. We are seeing Gen Z react in a big way to relatability and honest songwriting, which is a huge driver for why listeners resonate so hard with Mitski, Lizzy McAlpine, Chance Peña, and other artists included in the juniper playlist.”

To launch the playlist, we hosted a dinner bringing together the emerging Gen Z folk music community that’s leading the resurgence of folk music. Artists Sierra Ferrell, Briston Maroney, John Vincent III, Izzy Heltai, and Odie Leigh joined in for a family-style dinner and a fire pit under the stars.

La Nueva Cara del Folklore Mexicano, Silvana Estrada, Lanza un Cover de Manu Chao y una Nueva Versión de “Tristeza” para Spotify Singles

La voz de Silvana Estrada cautiva primero por una cualidad física y termina atrapando por su dulzura y profundidad. La cantautora mexicana de apenas 24 años se ha convertido en una de las artistas más prometedoras de la canción popular latinoamericana, siguiendo los pasos de mujeres como Natalia Lafourcade

Silvana creció en el exuberante estado de Veracruz, México, en una familia de músicos e instrumentistas. Desde muy joven, estuvo rodeada de guitarras, violas y violonchelos que su familia labraba minuciosamente. Criada cantando son jarocho mexicano y música coral barroca, y luego educada en jazz, Silvana es una artista con un estilo personal y un estilo de composición íntimo.

Como multiinstrumentista, Silvana toca con mayor frecuencia el cuatro venezolano, un instrumento delicado que se sincroniza con las variaciones de su voz.

En 2020, Silvana se convirtió en la primera artista mexicana de RADAR, el programa global de Spotify que apoya a los artistas emergentes. Hoy tiene más de 600,000 oyentes mensuales en la plataforma.

Luego que Marchita, un álbum íntimo que narra la historia de un primer amor y una dolorosa ruptura, recibiera elogios de la crítica y una entusiasta recepción de sus fanáticos, Silvana grabó un par de canciones para Spotify Singles en la Ciudad de México. La primera cara es una nueva versión de su tema “Tristeza” y el anverso es “Clandestina”, una versión del clásico del rock alternativo de Manu Chao.

For the Record habló con Silvana sobre este nuevo lanzamiento, su proceso como autora y lo que la inspira como artista.

¿Por qué elegiste “Tristeza” de tu álbum Marchita y en qué se diferencia esta versión?

Lo que más me gusta de “Tristeza” es el juego entre la melancolía de la canción y la intención de la melodía, que me parece más alegre y vivaz. Ese contraste me pareció agradable de explorar en una versión para Spotify Singles, algo más orgánico ya la vez nostálgico que la versión del álbum. También es una canción que en los conciertos se vuelve una plegaria contra la tristeza, así que quise darle esa intimidad de cuando cierras los ojos y deseas algo con mucha fuerza. 

¿Por qué elegiste hacer “Clandestina” y cuál era la intención que querías imprimir en esta versión?

Para mí “Clandestino”, la versión original de Manu Chao, es una canción icónica y siempre vigente en nuestra cultura latinoamericana. Estas palabras que cuentan la historia de un migrante me tocaron el corazón. Naturalmente cambié la letra; sin pensar dije ‘clandestina’ y así cantando la canción supe que me había encontrado dentro de ella. La migración es un tema que siempre me ha conmovido el alma. Ese acto está lleno de esperanza y fuerza, dejando la tierra amada en busca de un futuro mejor.

Hacer esta versión significó tomar un himno atemporal y encontrar mi lugar en él, darle mi visión que creo que es la de muchísimas mujeres mexicanas y latinas que cruzan fronteras y se descubren en esa soledad tan dura y tan hermosa de la que habla Manu Chau, “sola voy con mi pena, sola va mi condena”.

Marchita es un álbum introspectivo con sabor nostálgico. ¿Qué te inspiró a escribirlo?

Marchita es un viaje interior, un viaje que comenzó con el proceso de un duelo amoroso. Nació del dolor y del deseo de comprender las dificultades del alma y salió a la luz ya la curación de las heridas. Para cuando apareció la pandemia ya tenía todas las canciones de Marchita hechas, entonces no podría decir que influyó en el proceso. Sin embargo, puedo decir que en la cuarentena todo lo relacionado con Marchita tomó mucho más peso en mi vida. Fue como volver a enfrentarme a esa soledad que ya había experimentado al escribir el disco pero ahora con todas esas canciones alumbrando mi camino.

Nos gustaría saber más sobre tu proceso creativo. ¿Cómo empiezas a escribir una canción?

Mis procesos siempre son desordenados. A veces empiezo con una melodía ya veces con un poema. Tengo que profundizar mucho en las ideas para poder darles dimensión y convertirlas en canciones. Me ayuda mucho leer y siempre llevo una libreta donde escribo lo que se me ocurre.

¿Cómo influyó en tu forma de abordar la escritura crecer en una familia de instrumentistas y músicos en Coatepec, Veracruz?

Creo que crecer en un ambiente musical y artístico me dio sobre todo libertad. La libertad de saber que mi instinto es lo más importante aunque a veces me equivoque y la libertad de encontrar espacio para jugar sin miedo dentro de la disciplina que también se necesita generar constantemente.

¿Quiénes son las cantantes femeninas que te inspiran y han influido en tu música? ¿Cuáles son los autores que más admiras?

Las cantantes a las que recurro cuando me siento perdida son Mercedes Sosa, Soledad Bravo, Ella Fitzgerald y Billie Holiday. Mi autora favorita de todos los tiempos es Violeta Parra; Ella es una inspiración.

 

Escucha los Spotify Singles de Silvana Estrada aquí.

How Americana Troubadour Garrett T. Capps Went Worldwide

Photo credit: Oscar Moreno

“It was really kind of organic how it all happened,” says Garrett T. Capps about the route that unexpectedly took him from being an under-the-radar Americana singer/songwriter to having his song open the season three premiere of the Showtime series Billions.

Capps’ lyrically rich, raw-boned Tex-Mex rocker “Born in San Antone” is the tune Billions viewers heard when the Western boots of Clancy Brown as Texan Attorney General Waylon “Jock” Jeffcoat came on the screen. True to his word, Capps was indeed born and raised in San Antonio, but he spends a lot of time playing in Austin. And it was a set there at South By Southwest that kicked off the whole sequence of events.

“I was playing an official showcase at SXSW one year,” Capps explains. “They put two or three of my songs on a Spotify official Austin music playlist. One of them was ‘Born in San Antone,’ and I guess it greased the wheels of my Spotify algorithms and started linking up with people that might like that kind of music.”

Fortunately for Capps, one of those people turned out to be Billions co-creator/executive producer Brian Koppelman. “He’s a big Americana guy, who curates the music for the entire show himself,” says Capps, sounding like he can still hardly believe it. “He was just sitting on an airplane and he turned on Discover Weekly, and my song came up and he freaked out, he loved it. And then he contacted me. It’s wild, because that song is just a hometown anthem I wrote to play at local gigs, really.”

Capps doesn’t have a manager or booking agent. DIY to the core, he does it all himself, but he got a lot of help when television took his game to another level.

“I released my last album, In The Shadows (Again), independently in May of last year,” explains Capps, “and then I got a whole bunch of hits on that song [‘Born in San Antone’ from Capps’ debut LP] when the TV show came out. I think a lot of people got turned on to my new stuff, which is definitely not the same as ‘Born in San Antone.’ I don’t have any song like “Born in San Antone” on my new album. It’s like a rock ‘n’ roll song.”

But Capps’ new fans had no trouble connecting the dots from the rocking cut off his first album to the rootsy vibe of his second. “Spotify immensely helped me find this cult following around the world through its Discovery playlists,” he confirms. “It was like a perfect storm, and people are continuing to discover my music and hit me up, and buy stuff, and ask me to play shows… I think it’s all because of Spotify, really.”

The ‘Otherworldly Magic’ Behind First Aid Kit’s New Spotify Singles

Klara and Johanna Söderberg, the guitar-toting sisters behind Swedish indie-folk band First Aid Kit, are no strangers to a good cover song. In fact, the 27- and 25-year-old duo encountered internet fame due to their chilling acoustic rendition of Fleet Foxes’ “Tiger Mountain Peasant Song.” Now, as established performers in their own right, the sisters bring their unique style to every note and lyric—and record covers that impress even the original band that wrote them.

As they’ve grown in popularity—the two have garnered over 2 million monthly listeners on Spotify—they try to perform at least one cover at every live show to pay tribute to their influences and challenge themselves by playing something new.

Recently, the sisters had the opportunity to record one of their hit songs, as well as a new cover, at the new state-of-the-art Spotify Studio in Stockholm. We sat down with the Söderberg sisters to cover everything—their reason for recording Kate Bush’s ethereal 80’s pop-synth classic “Running Up That Hill,” a common misconception about folk music, and the way magic has emerged in their lives and in their music.

Q: What was it like to record in the new Stockholm Spotify Studio? What was unique about the opportunity?

A: We had a blast! The studio is beautiful. It truly has everything you need recording-wise. We felt very spoiled to get to go in there and play around, do whatever we wanted in such a luxurious environment. It was very freeing. We are super happy with the results; we think the performances really came through and that the sound is fab.

When we recorded the Spotify Singles we only had a couple of hours, which makes for a really special energy in the room. It’s a little scary, because you know you’re not coming back to change anything, but there is also something exciting about that.

Q: Tell us about the new version of your song “Fireworks”—what distinguishes it from the album version, and why did you want to make a new recording like that?

A: We wanted to release a stripped-down version of “Fireworks” to parallel the more lavish arrangement on the record. We think the song works really well this way, and the song melody and the lyrics really come through. We wrote the song this way, and it reminds us of the original demo we made for the song in our home studio in Stockholm where Klara is on acoustic guitar, Johanna is on bass guitar, and our father Benkt is on electric. We also got help from our dear friend and touring companion Sebastian Ring. He wrote the beautiful string arrangement you can hear in the background. It was played by a Stockholm-based string quartet.

Q: What did you cover for your Spotify Single, and why?

A: We wanted to cover an artist we hadn’t covered before. Kate Bush is new territory for us and was a fairly recent discovery. She’s so powerful in her expressions, so unique in her lyrics and performances. She’s got something magical going on.

Covering “Running Up That Hill” is an homage to her. “Running Up That Hill” is known for its cool arrangement, with the ’80s keyboards and heavy toms. We wanted to strip it down and focus on the amazing song melody and the lyrics hidden behind all of the production. We did our own folky-rock take on it instead.

To us the song is about gender, about how we’re taught to see things differently depending on if we’re born a man or a woman. How it can be really difficult to understand each other, and how much easier things would be if we could switch sides for a while.

Q: What cover would you like to tackle that you haven’t attempted yet?

A: When it comes to covers we’re up for anything, and we’ve already covered all kinds of genres, from an electronic act, like Fever Ray’s “When I Grow Up,” to heavy metal, like Black Sabbath’s “War Pigs.” We’d love to try a Fleetwood Mac or Stevie Nicks song. We’ve attempted them before, but because the originals are so good, it’s tricky. It’s a thin line between sounding like a bad karaoke version and attempting something new with a song. One day we’ll get there though.

Q: What’s the biggest misconception about folk music you’d like to dispel?

A: That it has to be soft and polite! Folk music should be played loud and be performed with lots of emotion and conviction. It’s OK to be angry in a folk song.

Q: When you were young, you both thought you could be witches. Did that influence your music video for “My Silver Lining,” or your choice to cover “Running Up That Hill?” How is music like magic?

A: Yes, haha, that is true. Many of our songs have a dark and mysterious vibe to them. We’ve always been drawn to witchy imagery in our videos and artwork. Maybe it comes from spending hours watching “Charmed,” “Sabrina The Teenage Witch” and “Buffy The Vampire Slayer” as kids. Or maybe we truly are witches.

Music is definitely magic! We don’t quite understand it and we don’t try to. Writing and performing songs is almost a spiritual experience. The way we connect when we sing together sometimes feels otherworldly.

Listen to First Aid Kit’s new Spotify Singles here.