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This week we continue our latest feature on the Tipping Point, spotlighting the biggest and best emerging acts from across the UK. Each Monday, we ask one of our esteemed tippers to select five of their hottest tips to be featured on the site throughout the week.

Today we introduce Josh Shreeve, creator and presenter of the ‘What’s In The Bag?’ podcast as well as working as a Content Assistant on BBC Radio 1 and 1Xtra. He’s worked across big shows including Greg James, Clara Amfo, Mistajam and Annie Mac. Check out Josh’s picks below!


Brothers Mark and Rob Brandon’s Spotify modestly describes them as “two brothers making some electronic music around a piano”. True, but when you plunge into their relatively small back catalogue you’ll be left in awe. Their sound is born from big piano chords that you might expect a Gospel Choir to wrap themselves around. Instead you get a soundscape of tunes ranging from Disclosure-esque club bangers that fizz and jangle with all the excitement of pre-night out nerves (‘Why?’) to more blissed out carefully crafted numbers such as ‘Beta’ and ‘2005 NYE’, reminiscent of Four Tet and Maribou State. I can’t get enough of these guys.



Egyptian Blue are the most exciting new band I’ve seen in the last five years. When I first saw them in a tiny underground Dalston bar it genuinely felt like I could be watching this generation’s Arctic Monkeys or Foals. They’ve supported The Murder Capital, IDLES are fans and they’re signed to Felix White’s Yala! Records, which makes sense when you think back to how brilliantly frantic the early Maccabees riffs were. The post-punk band from Colchester are however more unapologetic in their approach and you really feel like every riff and Joe Strummer-esque spit down the microphone is meant to strike you round the neck. Start with their debut EP ‘Collateral Damage’; there’s not a dud on there.



When I saw Everyone You Know play live in Camden last year, it was in front of a crowd like I’ve never seen before. Packed to the rafters; down the front were the sweaty Gen-Z ravers, clawing to their new favourite sound, in the middle, the 30-somethings with memories of those raucous Streets gigs back in the day and at the back, the Prodigy-loving mums and dads with some fire still left in the tank. Pinching influence from all the above artists, brothers Rhys and Harvey strike a chord for a range of people; they’re as capable of making addictive guitar-led indie tracks such as ‘Our Generation’ and ‘She Don’t Dance’, as they are of going full-on Keith Flint (see ‘Sinners’). They’ve not released anything for a while which says to me that they’ve got something big brewing…



I first heard Nayana Iz a couple of months back when her track ‘TNT’ was the BBC Introducing Tune of the Week and I thought “this sounds different”. That’s always a good sign to me. Born in India but raised in North London, Nayana’s music is a representation of her identity as she blends what is predominantly hip-hop with influences from Indian classical music. She’s part of a London collective called Nine8 which includes Lava La Rue and Biig Piig but Nayana is making moves on her own with her latest EP ‘SMOKE & FLY’ showing all sides of her ability from the edgy glitch-pop track ‘Growing Pains’ to her more hardcore collaboration ‘Final Hour’ with Lorenzorsv that has the intensity of a Little Simz rap.



Yet another pair of brothers who’ve impressed me over the past 12 months are Ben and Tom Vella, aka Child Of The Parish. If you’re a keen gamer you may have noticed their track ‘Before The Moment’s Gone’ on FIFA 20 (which to me, only ever includes the best crop of new music). From there I discovered their track ‘Thread The Needles Eye’ which reminds me so much of being a sixteen year-old drunk off the tunes of Foster The People and Empire Of The Sun. It’s a nostalgic sound that feels so right for now when we crave familiarity. The aptly titled ‘Make It Better’ came out during the doom and gloom of lockdown and bursts with so much euphoria that for a second you could be in a sunny festival field and not sat working at your kitchen table.

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