Texas Hold ‘Em
By Beyoncé
It’s named for a form of poker invented in the state which also gave us Beyoncé and her move into country(ish) territory might be seen as a calculated gamble. It’s not the first country foray of her career but Beyoncé's timing is much better this time. To stretch the card thing little more, this and the earlier big-twang ballad 16 Carriages sounds like the beginnings of a royal flush. The banjo-powered Texas Hold ‘Em is both boot-scootingly infectious and quite a threat to Taylor Swift’s market share. The acapella version is really quite something too. – Russell Baillie
When All You Can Manage Is a Sigh
By Georgia Gets By
Georgia Nott may be more recognisable with platinum blonde hair standing alongside her brother belting synth-pop hits in the duo BROODS. But as her own act, Georgia Gets By, she takes a quieter, more introspective approach. When All You Can Manage Is a Sigh is a quick, homely two-minute ballad that the Nelson-born singer executes with a huskier refrain compared to her cleaner pop tracks. It is driven along with some pretty guitar and the melody wraps the performance up in a neat little bow. – Alana Rae
Don’t Forget Me
By Maggie Rogers
Everybody’s going country. There is speculation that Lana Del Rey’s next work will land in the genre, and Beyoncé's Texas Hold ‘Em confirms that the second act of her Renaissance project will have a strong Southern take. Maggie Rogers’ title track from new album Don’t Forget Me has notable twang, too, likely not discouraged by the assistance of Kacey Musgraves’ producer Ian Fitchuk. With beautiful, emotive storytelling in her lead single, Rogers says a lot with little. Lines like “Take my money, wreck my Sundays” are brutal but sweet, made only more engaging by her strong vocals. – Alana Rae
Deeper Well
By Kasey Musgraves
Elevating, finger-picking country from the Grammy-grabbing Texan star who here embraces more folk and dream pop than standard country styles while offering a life lesson: Everything I did seemed better when I was high … so I’m getting rid of the habits that are real good at wasting my time.” Gorgeously airy pop for late summer days. – Graham Reid
Dark Matter
By Pearl Jam
The return of Pearl Jam just as fans would want them: heavy, heartfelt, riff-driven and timely. The title track from their forthcoming album (out April 19), it noisily announces a world tour coming to Auckland on November 8. Big, boisterous and a fist-pumping stadium-shaking song that proves their power hasn’t been diminished by the decades. – Graham Reid
Mars to Liverpool
By Liam Gallagher & John Squire
The former voice of Oasis and the former Stone Roses guitarist impressed with Just Another Rainbow, the epic first single off the Mancunian supergroup’s forthcoming album that channelled a lot of past bands, some of which they had actually been members of. The second starts with Gallagher snarling a very self-aware first line: “Jesus Christ, about last night, I can only apologise …” before the harmony-laden chorus and Squire’s guitar takes the track into something akin to the 1990s American power-pop likes of Matthew Sweet. – Russell Baillie
I’d Like to Help You with Your Problem
By the Dandy Warhols featuring Slash
Alt-psychedelic rockers Dandy Warhols ratchet up the volume and density then invite in the assault of Guns N’ Roses guitarist Slash for a grinding rock radio track that doesn’t really go anywhere but leaves a heavy footprint on its way. – Graham Reid
Sister Andre
By Pokey Lafarge
Influenced by old-time country music, jazz and swing, this popular entertainer fell off our radar after touring some years back. But here, he re-establishes his credentials with a tremendously catchy slice of economic pop which owes a debt to Motown, early Marvin Gaye and even the young Michael Jackson. Optimistic (“you never know when you’ll fall in love”) and comes at you over a chipping rhythm of drums and guitar. Classy and memorable pop. – Graham Reid
Black Holes, The Stars and You
By A. Savage
Frontman for the popular Parquet Courts delivers this slinky and thoughtful five-minute song which gains intensity as it passes the midpoint and goes out with dreamy, lightly psychedelic pop that channels emotional desperation. A mesmerising slow grower. – Graham Reid
Anthem For Those Who Know
By KÁRYYN
Intense, serious, strident and dark art-pop from an Armenian-American artist aiming not for radio but the conscience: “I will be the collider, you will be dark matter . . . we will not be silenced ever, we will not be lost to your violence.” Inspired by, among other events, the on-going wars in the Middle East. Not an “anthem” as most understand the word, but a powerful, Bjork-adjacent message with a delivery hard to turn away from. – Graham Reid
Matthews’ Pluto, the Renewer
By Berlin Philharmonic Orchestra, Simon Rattle conductor
It’s had its ups and downs since then, but Pluto was discovered on February 18, 1930. By that time, Gustav Holst had already written The Planets, and poor old Pluto had to wait until 2000 for composer Colin Matthews to add it to Holst’s suite. Sadly for Pluto, in 2006 it was downgraded to a dwarf planet, because sometimes the universe just isn’t fair. – Richard Betts
