With every new installation comes an inevitable clear-out. As we embraced Sam Smith, George Ezra and FKA Twigs in 2014, we waved an indifferent goodbye to The Saturdays, Eliza Doolittle, and, god willing, Will.I.Am. In the wake of this annual shake up, now seems an ideal time to forecast the likely incoming and outgoing pop acts of the year ahead. Up first are the newcomers…
There’s an air of anticipation to Jack Garratt’s music that calls to mind the buzz surrounding pre-breakthrough Bastille back in 2013. Like Bastille too, he seems to have a knack for releasing highly accessible left field pop-rock indietronica. If the hauntingly good ‘The Love You’re Given’ and the dark yet delicate ‘Worry’ are anything to go by, mainstream attention is imminent.
Years and Years
Without a doubt the next act to profit from the commercial vogue for quirky, retro dance music, Years and Years write and release from the same sonic territory as Jungle and Clean Bandit. Having topped the BBC’s Sound of 2015 poll (the collective winners of which have secured 13 Number One albums to date), the trio are poised for success from the inevitable barrage of media coverage alone.
Surely the next face of UK indie pop, regular Bombay Bicycle Club collaborator and flawless songwriter Rae Morris releases her long awaited debut album this year, recorded with renowned Haim and Vampire Weekend producer Ariel Rechtshaid. At just 22, she’s already supported Paolo Nutini, Lianne La Havas and Noah and the Whale – expect big things at a slow and steady pace.
Failing to recognise that signing up for a judging spot on The Voice signals a career in decay, Jessie J last year collaborated with Nicki Minaj and Ariana Grande on ‘Bang Bang’, in attempt to prove that, relatively speaking, she’s really not all that annoying. Now, she’s crawled back into the spinning red chair – this time in Australia. Her days in the charts are surely numbered.
Will 2015 be the year The Script finally stop releasing the same song over and over? Experiments with rap and some questionable collaborations have done nothing to alleviate the impression that the brash, quasi-emotive nonsense Danny O’Donoghue and co. have been churning out for over a decade is well past its sell by date. Brace yourselves for an inevitable farewell arena tour.
Tinie Tempah’s career seems to have existed in double time. Starting out as an edgy, underground one-to-watch, he reached the evident peak of his career with big hitters ‘Pass Out’ and ‘Earthquake’. The deeply annoying ‘Tsunami’ and ‘Trampoline’ followed, pre-empting a disappointing follow up album. He’s just started designing bespoke suits. The end is nigh.