we can’t be friends (wait for your love)
By Ariana Grande
Ariana Grande’s second single from her highly anticipated seventh album eternal sunshine is quintessentially her in its style of pop. But at the same time it’s unique in its restricted vocal performance from the ever-capable, four-octave range singer. It’s a refreshing and honest song about the pitfalls of a messy relationship – maybe a genuine emotional performance of how exhausting such a thing can be. – Alana Rae
Skin
By RIIKI REID
There’s a slight muffled, underwater vibe to the production of RIIKI REID’s new single Skin, which gives a nice consistent mood to the pining pop song. There’s no doubt her vocals drive the emotions behind the track as well. They sound similar to Canadian star Tate McRae’s. Both made the move from dance to music, maybe a testament to their songs’ danceability, both in the upbeat and more mellow sense. – Alana Rae
When it Gets Easy
By Geoff Ong
When Kiwi rock godfather Max Merritt sang “Get a Haircut” in 1959 he couldn’t have foreseen a day when musical generations to come would be doing just that on camera to further their careers. But that’s what Auckland pop guy Geoff Ong has done in the modestly budgeted clip-clip video clip to his infectious new track. He may need a room of people for one short back-and-sides but the exuberant song about coming out of a rough patch is all his own work. A hit, surely. – Russell Baillie
Murder
By Split Enz
Keeper of the Split Enz flame and long-time fanclub president Peter Green has knocked together a new video for Murder, a song the band played live in the Frenzy period but seemingly never recorded. The sound is from a 1979 show in Sydney, the papier-mâché puppets are Green’s own work and the resemblances to Tim and Neil Finn and co … um … must be seen to be believed really. There have been some memorable Enz string arrangements over the years, and this is certainly another. – Russell Baillie
Barracuda
By Devilskin
A classic of American band Heart gets fist-tight treatment with that famous riff rendered like a runaway train by local hard rock heroes Devilskin. Singer Jennie Skulander completely owns it and guitarist Nail Vincent fires off a wheel-spinning solo. No matter how loud you play it it won’t be loud enough. – Graham Reid
We Up
By BARKAA
Indigenous Australian rap star Barkaa (Malyangapa, Barkindji) puts aside her more political side for a thrillingly angry and hilariously profane backing track to a girls’ big night out. Once heard, not easily %@&!^ forgotten. – Russell Baillie
Paddo
By Peter Garrett
Meanwhile on the other side of Oz-town … the former Midnight Oil frontman and recent Listener guest columnist has released his second album under his own name. While it’s largely a gentler lower-decibel affair than his old band, single Paddo recalls the near-rap delivery Garrett tried on for size on his 2016 debut A Version of Now. This one also sounds inspired by life in a bushfire smoke-ridden Sydney where sporting life goes on at the Sydney Cricket Ground as the outside world burns. Oils fans should find plenty to like. – Russell Baillie
Legendary
By Bon Jovi
After an all-star Grammy tribute (by Springsteen, Etheridge, Shania and others) and before they undergo a resurgence of interest on their 40th anniversary – a new album Forever due in June, a four-part career overview documentary next month – New Jersey’s second biggest band launch themselves with singalong moments, working class sentiments and phone-waving chorus: “Got what I want, got what I need, got a fist full of friend that’ll stand up for me … Friday night comes around like a song, Sweet Caroline and we all sing along … got a brown-eyed girl, she believes in me …”. Stadium-shaped, chopped, and channelled American rock of the old style. – Graham Reid
Shirish Korde, Tenderness of Cranes.
By Tessa Brinckman flute.
It’s a cliché but Tessa Brinckman truly is a citizen of the world. Born in New Zealand, as a young person she spent time in South Africa, and now lives in New York. Her new album, Take Wing, Roll Back, is similarly multinational. Shirish Korde, the composer of this track, is a Uganda-born American with Indian ancestry so naturally his piece draws on Japanese folk music. At just shy of 11 minutes it’s a long piece by solo flute standards but the variation in technique and timbre Brinckman draws from her instrument means you don’t notice the time. Keep an eye out for our interview with Brinckman in the March 30 issue. – Richard Betts
