Whether you’re looking for a song to soundtrack your heatwave hysteria, or a body of work to immerse yourself in at the same time as the nearest body of water, TOPNOTE’s got you covered. Be it Olivia Rodrigo’s beautifully bleak ballads or Big Special’s post-punk poetry, much of our Monthly Picks for June sounds like it’s poured straight out the heart.

The Ghanian-Australian rapper and singer, who featured on TOPNOTE’s emerging artist list for 2026, has flown over from Aus for two small-scale shows in London and Paris to celebrate new album ‘Redstar Wu & The Worldwide Scourge’. Read our review of Genesis Owusu live at the Institute of Contemporary Arts.

Lola Young ended her comeback tour at the second of two sold out shows at O2 Academy Brixton on Friday night with poignant speeches and emotional performances. Read TOPNOTE’s review of the small-scale tour finale here.

For the most part lacking in emotional conviction, it’s difficult to render Myles Smith’s debut as more than a solid first attempt; rather than meeting the admittedly insurmountably high expectations he’s being held to. Read TOPNOTE’s review of ‘My Mess, My Heart, My Life’.

Spanning pop, indie, reggae, dub, jazz and funk to name a few, one thing Bare Jams have always been is independent . Just over a month out from their next album release, ‘Full Circle’, the six-piece collective have revisited some of their roots, and TOPNOTE spoke to them about it before their London gig with The Nest Sessions.

Since Olivia Rodrigo went off to live some life and returned with it condensed into a 13-track album, TOPNOTE are making our way through it in order. Read our song-by-song analysis of ‘You Seem Pretty Sad For A Girl So In Love’ here.

As lead curator of the V&A East’s inaugural exhibition, Jacqueline Springer has been instrumental in shaping the vision and visitor experience for ‘The Music Is Black: A British Story’. TOPNOTE spoke to her on the undertaking and execution of such a project, the complexity of what music is and means, and her hopes for it.

‘Golden Age’ is a step-left, out of ballad land and into the electric sphere; a record that James Smith intends to better showcase his musicianship and identity. A round-up of previously released singles and pertinent new tracks documenting a moment in time from a musician whose only destiny is upwards, read our interview here.

Sometimes a band’s presence precedes their sound – and the music follows. Such is the case for The Rions, whose debut album, ‘Everything Every Single Day’ released last October debuted on the Australian albums chart at Number 1. Wrapping up a world tour with their deluxe edition release, we caught up with the band in London.

May seems to be calling forward some introspection. Whether it’s Sonny’s letter to his past self, the not-so-healthy reminiscing from Lola Young, or the directionless Matilda Mann, there seems to be a theme of inward-looking lyricism. But this collection of Monthly Picks also sees a stock-take of life where it is right now… plus a load of album announcements!

The second solo project from Ed O’Brien, and the first release under his own name, ‘Blue Morpho’ is a sonic wander through the mind of one of the UK’s most recognised and rewarded guitarists, written over four years between commitments with ‘the day job’, or to us mortals… Radiohead.

‘The Music Is Black: A British Story’ presented by the new V&A East in Stratford is the largest ever exhibition on the impact of Black British music on the UK and around the world, and the museum’s first, in the building which opened its doors last month. Read TOPNOTE’s review here.

‘OUTTANATIONAL’ was written at a time of liminality, as a way to escape the internalised conflict surrounding what it means to be ‘home’. Released last Friday, Pigeon’s first album is a dance through nations, identity and culture, between borders, and frequently beyond them. Read on for TOPNOTE’s album review.

Our ears have been thoroughly spoiled this month… in a good way. April delivered some seriously strong albums, including from Holly Humberstone and Jessie Ware, as well as singles that mean business, whether in the relentless track from World News or the welcome return of Palace.

For all the band’s talent – and there is plenty of it – last night’s show at Electric Brixton was missing punch. Read our review of Just Mustard live in London on their ‘WE WERE JUST THERE’ tour.