I listen to a lot of music. No, really. If I’m not catching up on what my fellow writers are putting down or doing homework for the Crushed Monocle Podcast (remember that?) I’ve always got my ear to the ground. There’s so much music out there that it’s hard to keep a cohesive list. While the podcast is a great way to discuss a few records each month, I feel I’m undercutting some of the other records that got repeated spins. What’s the remedy? This column! This is The Showcase, August 2026.
We interrupt your regularly scheduled programming for the return of Indie Inspection!
In case you forgot about my old monthly feature, it was my chance to take full advantage of the malleability of “indie” as a concept and aesthetic. This could mean lesser-known acts releasing their music either independently or on a smaller label. It could also refer to artistic vibes and approaches that fall outside of the mainstream. It might even mean nothing at all!
So, that means in this edition, less metal, less psych, less goth, and less Chicago than usual. Enjoy!
Aubory Bugg – i think i had something once
Fantastic folk. This debut album combines a wonderful soprano with gentle guitar strums and thoughtful lyrics to achieve remarkable results. The hushed aesthetic invites you to relax and reminisce about young love, making mistakes, and generally growing up into your true self. I’m instantly reminded of boygenius and those three artists’ individual projects, while also detecting decades of vintage Americana. The title track is wonderful, and I also heartily recommend “wasted potential,” “the one you want to lose,” and “i’ve come to realize.”
Clover Stieve – Born to Live
Delicate pop delights. Somebody get Clover and Aubory on a tour together soon, as these two terrific talents need to be seen by a wider audience. This twelve-song album showcases Stieve’s enchanting voice, as her range is its own instrument. She achieves her sound armed with the merest guitar, bass, and drums accompaniment, which allows for tasteful flourishes that accentuate her arrangements. Familiar chord progressions find fresh life with lyrics about widescreen ambitions, believing in yourself, and chasing your dreams. “Quantum Leap,” “Big Top,” and the titular song evince Emmylou Harris, Patty Griffin, and Nancy Griffith with aplomb.
Hannah Cole – Switchbacks
Brash ‘90s throwback. We’re talking crunchy guitars, loud drum flams, and quiet-loud arrangements. It might be cliché to claim that it sounds like youthful Cole was obviously raised on her parents’ record collection. But she would be hard-pressed to defeat those assertions, as this ten-song debut pays such loving homage to Nirvana, Hole, Sleater-Kinney, and Ride. Her breathy low soprano offers a delightful counterweight to the thick walls of distortion, and the dynamic pacing of the entire record reveals her high levels of taste and sonic acumen. Please explore key songs like “MMA,” “Dancing,” and “Every New Day” to hear more.
Index – Vis Inertiae
Pummeling hardcore. Well, that and some punky industrial vibes for good measure. I imagine 20-something me right up at the front of the stage yelling the band’s lyrics right back at them, as an angry circle pit swirls behind me. The snarling guitars and pummeling drums absolutely cave in your skull in the best way possible, even as the full-throated growling vocals bludgeon your eardrums. It’s 9 songs in 29 minutes, and I want even more, especially tunes like “Fractured,” “Earth,” and “Static Bloom.”
Logan Lynn – The Pain and The Power
Glorious dance-pop. Imagine a queer Ben Gibbard hanging out with Robyn or Jessie Ware as they sing about hedonistic expression with a rueful undercurrent. I interviewed Lynn a few years ago, and he’s outdone himself with this potent album. The synths burble with a simmering ecstasy while the drum patterns demand that you shake your ass. But the record’s true heart reveals itself when you dive deep into the lyrical depth. I recommend starting your investigation with tracks like “The Cocaine Scene,” “AMERIKKKA,” and “Run Away From the Sun.”
Meg Lui – Instant Validation
Melancholy indie-folk. What? You’re telling me that Sufjan Stevens has good taste in young artists? He produced this magnificent debut album, as Lui possesses this dreamy, sad alto that reminds me of Lucinda Williams, Zooey Descanel, and Jenny Lewis. The songs have this forlorn quality to them that evinces a curious combination of the Southwest, Midwest, and Northwest – music perfect for long drives and thoughtful conversations with friends. For every peppy zinger like “Elvis Queen,” she delivers something quiet and pensive like “Dreams” or “Time Thief” that has me staring off into the middle distance.
Perennial – Modernism
Furious punk. Like, snotty and brash without the patois, whining, or affectations. Ten songs in 20 minutes, the album overflows with sneering guitars, free jazz skronk, swaggering organ, and barely contained rage. Musically, it’s a heartfelt callback to 2nd wave punk and NYC No Wave that’s been fused to 21st political hardcore with a lovely sense of dark humor. If you like your retro garage rock with postmodern edge, you should listen to “Perennial ’65,” “Me and the Magpie,” and “The Beat Scene.”
The Tubs – Hard Life
It’s Celtic R.E.M.! It’s power-pop Dropkick Murphys! Or maybe it’s jangle-pop Sugar! Whatever you call it, this Cardiff quartet simply rips. Their musical intensity has plenty of Midwestern edge, but I’m especially in love with the bleak sense of humor in the lyrics. Come for the delicious guitar licks, but please stay for the unabashedly fun energy that feels like a wild ‘90s throwback. Just check out the title track “Who’s Gonna Love You Now?,” and “Stoop to Me” for proof.
Thanks for checking out The Showcase for September 2026! Check out previous installments of The Showcase here!
And check out the Indie Inspection archives here!