Erin LeCount
It feels a little silly to write about keeping an eye on Erin LeCount. The young star has skyrocketed to hundreds of thousands of monthly listeners within a matter of months. Admittedly, I was slow to write an article about her. But discovering her back in 2024 through her White Ferrari X I Know The End mashup cover felt significant. It was a captivating first exposure to LeCount. It was clear she was blessed with those deep, lush, soulful British singing genes - which is why she strikes me as rather similar to Florence + The Machine. Of course, LeCount is nowhere yet near the sophistication or production level of Florence Welch, not to mention they lean to different sides of the pop spectrum. But the comparison is valid insofar as it recognizes the similarities between their rich, cinematic voices and the drama of the music they both make.
LeCount has gone on to put out an impressive slew of singles in 2025. The I Am Digital, I Am Divine EP is an especially promising project that I hope to see Erin build upon. The drama of title track is thrilling, and, although she pushed the milk metaphor a bit too hard in this track, Erin quickly establishes herself as a respectable songwriter, with moving lines like “To ache is to be alive; I am digital, I am divine; I wait for it, I wait for it; And for the first time in my life, to ache is to be alive.”
She follows with Marble Arch, a clever title for a song on eating disorders: “This body used to be my home, now its just an homage; A souvenir I gave to everyone I love; The walls of my heart are like museum corridors; The love I gave you was art in my form.” The song comes close to being too literal without being so. In Marble Arch, we also see LeCount’s skill for writing about love: “I am breaking my back, bending to your heart; My spine curves against your fingertips like a marble arch; I try to make the ache something beautiful to watch.” Her recurring use of ache is yet another small touch that reminds me of Florence.
Track 4, Godspeed is one of the best pop tracks of the year. The song is well-arranged, with a mesmerizing assortment of bells and drums. The flow of the post-chorus promises to stick with you long after you hear it:
My bones in your teeth
My heart's kick drum type beat
God, I just wanted to dance
But I have two left feet
And I don't wanna speak
So I carry the grief, it repeats
LeCount solidifies her unique songwriting style on Silver Spoon - an interesting approach to tackling differences between yourself and your partner. “I bet you grew up grazing your knee, but the fall wasn’t fatal like it was for me. We’re the product of love that we do not receive. I’ll corrupt every branch of this family tree.” It is a song that will surely resonate with members of broken families learning to love for the second time through those of their partners. With lyrics that cut to the heart of our trauma against the backdrop of a promising melody that feels like a cinematic coming-of-age, Silver Spoon highlights the duality of hope and hopelessness in LeCount’s music.
All over the EP Erin doesn’t only look like an angel, she sings like it. She taps into an ethereal, divine sort of aesthetic both in her style and sound. But she can also be haunting - something I hope to see her continue to lean into. She can harness a heaven-sent horror pop sound that makes you want to chase something. Break something. It is clear she is capable of great emotional acrobatics.
Which is why LeCount will have to be careful to avoid making tracks that sound too similar. At the moment, she has found a sound that she is comfortable in. And certainly, it is beautiful. But the songs can risk blending into one another - a waste of LeCount’s talent. She will have to push herself out of her production comfort zone. But by all means, she is a force. And her heaviness is bound to take the pop world by storm.
