We Speak Music

Sonny Tennet ‘Howay’

Published

2 years ago

April 12, 2024

Don Reed

Newcastle born Sonny Tennet’s stand out vocal and unique songwriting ability have gained him over 60M streams and secured him a Spotify NMF placement, as well as airplay on BBC Radio One’s Future Pop for his last release. Now the 24y/o is back to turn the heat up further with ‘Howay’, the second single to be lifted from his forthcoming debut album.

“The anthemic chant of Howay came to me completely out of thin air on my way to a songwriting session”, says Sonny. “When I got to the studio, I asked the producer if I could sing the chant and bass line from my head. As I sang, the word ‘Howay’ came out and it just fit the melody. Howay in Geordie means ‘Come On’. I’d just come off of tour and wanted a real entrance to my set on the next run. The song lyrically became about my love of the North, my family, my home, my team. I love how it turned out and can’t wait for it to be out there”, he further explains.

It’s a very exciting time for Sonny who’s TikTok following has recently found him admirers amongst TV soap glitterati with Eastenders star Toby Alexander-Smith secretly arranging for the young singer-songwriter to fly out and perform his track ‘Calm Down’ as he walked down the aisle with Emmerdale actress Amy Walsh in Montenegro at their star studded wedding ceremony last year.

‘Howay’, with its epic chants, rocking bass line and infectious message is set to take things even further, as this ‘soon to be football anthem’ is on Sky Sports radar to be used on televised Newcastle Utd games this year, as Sonny gets ready to embark on a new UK tour in May.

‘Howay’ is out now via The Qworkz and tickets for Sonny Tennet’s May 2024 UK tour are on sale now here- https://linktr.ee/sonnytennettour

We Speak Music

Mané’s ‘The Goddess in the Room’ Turns Self-Discovery Into Sonic World-Building

Published

3 hours ago

June 2, 2026

Philomena Marie

There is a remarkable sense of intention running through The Goddess in the Room, the latest project from Swiss artist Mané. Blending alternative electronic pop with ritualistic percussion and spiritual symbolism, the album presents itself as both a personal statement and a carefully constructed narrative. Across its nine tracks, Mané explores identity, healing, queerness, and empowerment with impressive clarity of vision.

The opening track, “The GODDESS in the Room,” functions as both invitation and thesis statement. It introduces listeners to a world where intuition and self-trust become guiding principles, while establishing the atmospheric production style that shapes much of the record. The song’s spacious arrangement creates room for reflection, a quality that becomes one of the album’s defining characteristics.

That introspection deepens on “perles de sang” and “sappho.” The former grapples with inherited pain and bodily experience, while the latter offers a moving celebration of queer identity. Throughout these songs, Mané avoids reducing complex themes to slogans, instead allowing emotional nuance to emerge through carefully crafted songwriting and evocative imagery.

Musically, the album reaches some of its most intriguing moments on “)O(” and “moonstones.” Both tracks highlight Mané’s growing confidence as a sonic architect, blending electronic textures with organic rhythmic elements inspired by shamanic practice. The resulting sound feels immersive and transportive without losing its emotional immediacy.

Meanwhile, “j’serai tjr là” and “chocolate con sangre” provide some of the record’s most vulnerable moments. Here, Mané strips back some of the conceptual grandeur to focus on connection, memory, and emotional endurance. These songs reveal an artist equally capable of intimate storytelling and ambitious world-building.

The penultimate track, “Witches,” injects a surge of collective energy into the album’s narrative. Drawing on themes of resistance and feminine power, it stands as one of the project’s most direct statements while retaining its atmospheric sophistication. It is both politically resonant and emotionally charged.

By the time “ALIGNED” closes the record, the journey feels complete. Not because all questions have been answered, but because the search itself has become meaningful. The Goddess in the Room succeeds through its commitment to authenticity and vision, establishing Mané as an artist unafraid to follow her own path, wherever it may lead.

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