Polly Money, Cornish-born singer-songwriter, wants you feeling cosy. Her euphoric indie pop is a warm bath for any shivering hearts, and immediately unforgettable. With addictive hooks for even the most distracted ears, confessional lyrics written in hotels while touring the world, and sweet-ashoney vocals, she emerges as a unique voice breathing oxytocin into the genre. Her latest release, ‘T-shirt Nothing Else’ is an “accidental anthology” contemplating guilt and desire, belonging as a queer artist, and impostor syndrome, told through relatable lyrics, intimate production, gauzy synth and bouncing guitar. The first taste is rousing ‘Anything,’ co-produced by “best mate” Connor James and rising production talent Chloe Kraemer — who’s recently worked with the likes of Lava LaRue, Wet Leg and The Japanese House. The track was later remixed by The 1975’s Ross MacDonald. This is her third EP, following ‘Trip2020’ and, two years later, ‘It’s Not That Deep’. With autobiographical lyrics, soaring choruses and wide-panned swelling instrumentals, she has enough shared sonic touchstones to draw in fans of the likes of The Japanese House and Clairo.

But underpinning the lush melodies and sonic longing is Polly’s near-athleticism when it comes to performing — in her words: “the live show’s where it’s at.” After all, she’s played everywhere from
Glastonbury to Isle of Wight Festival, and is fresh off an 18 month stint with alt-pop giants the 1975 on their global “At Their Very Best” tour as a session vocalist and live guitarist, playing bucket list venues like New York’s Madison Square Garden. Those skills were previously honed sharing stages with Let’s Eat Grandma, Priya Ragu and Laurel, supporting Orla Gartland, Newton Faulkner, and Muse after being scouted personally by frontman Matt Bellamy during her set at a community festival in 2013. But that reputation for onstage allure is unsurprising. Because to Polly, part of the craft of the live show — along with emotional immersion through visuals and transitions — is proactively creating space for everyone to belong. “I absolutely want my shows to be a place where queer people of all ages – especially people who have only just come out or haven’t yet – can feel safe and feel seen,” she says. “It’s getting easier for people to come out and for there to be spaces and artists who hugely represent the queer community. I’d love to be a part of that, for sure.” Her booming fanbase can witness that infectious joy and attention to detail in action this year at upcoming sets at the likes of Truck Festival, Kendal Calling, Victorious Festival and The Great Estate.

Written by Kate Pasola