The current state of music streaming is interesting, yet unpredictable. The shift from the CD era into the streaming era has made access to music more ubiquitous, but it’s also thrown up problems: some users aren’t interacting with music like they did before, and the explosive spread of AI is threatening the entire streaming model. Enter Mauhan M. Zonoozy, former Head of Innovation at Spotify, who has plans to tackle both these problems.

Zonoozy left Spotify in 2023, and since then has set up his own music software label, A Vinyl Bar in Shibuya, a record label-meets-production studio that releases playful music apps the way labels drop records, including jetset.fm and Stacks. Essentially, it’s creating digital music playgrounds.

While Shibuya’s products don’t have extensive libraries of music like typical streaming platforms, they offer users different ways to create new sounds, even if you only use them for a couple of minutes. But despite the label still being in its infancy, Zonoozy knows exactly where he wants to take it.

I chatted with Zonoozy about where his post-Spotify career is heading, and his ambitious plans to insert his music services into a streaming world in which AI is becoming a growing presence.

Music is participatory

In a short period of time, Mauhan and his “small team of creative technologists” have released a slew of casual, interactive music platforms across web and mobile — but this is only the beginning.

“I spent years at Spotify and I loved it,” Mauhan tells me. “Incredible company, incredible team. But I think I spent most of my time effectively thinking about what comes next. I started A Vinyl Bar in Shibuya around a simple belief that music is a verb, that the next major music platform should give people something to do with the music. It should be more participatory, more engaging”.

Streaming has certainly made music a lot more accessible, but there was always one thing missing for Mauhan: interaction. “With streaming, you can hear almost anything, anywhere instantly, but the dominant interaction is still effectively sorting through folders and pressing play,” he continues. “There's an entire generation that was growing up playing with music through different mediums and different devices. I think their relationship with everything felt a lot more interactive.”

This sparked a lightbulb moment for Mauhan, and his mission statement is simple: “to empower more people to express themselves with music, or feel self-expressive with music”. This is where his latest project, Bop, comes into play.

Bop is a pocket DJ app, currently in beta, that lets you mix, mash, and mess with music. Its interface is like an MPC workstation, allowing you to create remixes of popular songs by dragging and dropping effects and sounds onto its grid. “We're not all about replacing the creative process,” Mauhan adds. “We're more about building instruments and new ways to express yourself.”

When it comes to the best music streaming services, tools like this aren’t a new concept — Spotify has its own DJ-style mixing feature — but Mauhan believes there’s still more room for music services whose focus is user expression.

“I think there's a yearning for creative expression (in music platforms),” he says. “I think listening to music the way artists created and intended is absolutely a big part of it, but I also think having Legos that you play and interact with, engage with is also very important.

“The next step in our journey is packaging that up into something that is platform scale, and we can actually deploy it and build a larger community of users and fans around it.”

Next stop: a larger music platform

It’s clear that Zonoozy has had a blast developing Shibuya’s array of sonic playground tools, but what I want to know is if there’s a larger music platform on the horizon — and turns out, there is.

“I think there's a bigger platform at the end of the tunnel for sure,” he tells me. “A Vinyl Bar in Shibuya is working actively on building it. I don't think it's gonna look or feel like any streaming platform you've seen before.” Now I’m intrigued — how will this platform compete with the likes of the music streaming big dogs? Turns out Zonoozy has thought about that too.

“We believe it's going to be more participatory,” he shares. “We're not building something that puts the music in the background, we want to put it in the foreground”. And it's as simple as that. “The hints are in the products, and we want things that feel more playful and approachable. I don't think anyone's going to accuse us of building a DSP,” he adds.

Despite it still being in early stages of development, Zonoozy has a lot of faith in Shibuya’s bigger project; but music streaming tools are evolving rapidly as is tech in general, so he’s had to do a lot of thinking ahead.

“My personal belief was that a lot of the cues around where media is going were in the gaming space,” he continues. “And I think interactive media was always a little bit ahead of the rest of the world in terms of film and music. I think because it was closer to technology, it was exploring the more creative technological boundaries of what you could do with media.

“I think now with what's going on and how powerful these computers in our pockets are becoming, there's so much new, cool stuff you can do. It's a responsibility for all of us working in music and tech to figure out ways to do it that supports the industry, the community, and more than anything, the art form.” It occurs to me that Zonoozy is as interested in conserving as he is in innovating.

Will music streaming survive without AI?

It wouldn’t be a discussion about where the music-streaming industry is going without me bringing up AI, and Zonoozy sounds dismissive about AI at first, telling me: “You know what I like about AI? It's easy to spell”.

AI is having a big influence on music platforms in many ways, with algorithmic recommendations and tools such as AI playlist generators now pretty much part of the package. Because these features are right at users’ fingertips, I ask, will there come a time where listeners won’t be able to use services without the help of AI?

Zonoozy has hope, saying, “It's hard for me to imagine a world where people are building things completely void of touching some semblance of AI, but I do believe that there will be products that are not purely driven by generative media.” While he doesn’t necessarily favor the reliance on AI tools to enhance the UX, Zonoozy isn’t against AI altogether. If anything, he acknowledges its benefits, and how it’s helped provide the foundations to his services.

“It's enabling technology for us, it's just not the consumer proposition,” he adds. “Shibuya doesn't build LLMs or ask anyone to prompt music and wait for a finished song, but we do use it as a co-pilot for coding and development. I'd be naïve to say that there's no AI somewhere in the stack there. But on the music side, all the stems are all hand produced”.

He continues, “I'm not anti-AI. I think AI is an incredible, powerful future-facing infrastructure. I think it can build so many cool things and empower so many cool things. I’m a traditionally strong techno optimist in that sense, I think it will lead to incredible discoveries and advancements — it makes coding infinitely easier. But AI is not our product thesis on our side.”

When it comes to streaming services, there’s a huge focus on churning out tools designed to make the listening experience more personalized, more convenient, and more interactive. Given the pace of this evolution, I find it difficult to envisage where streaming culture is headed — Zonoozy shared my uncertainty.

“In terms of streaming specifically, I don't know what's going to happen,” he admits. “The extreme levels of personalization to custom content made for you — I don't know where that line ends. Is it being personalised, or is it being generated for you?”

Torn ear tips. Snapped charging case. Dented drivers. Like every other kind of gadget imaginable, the best headphones aren't built to last, and I'd wager that everyone reading this article has some skeletons (of old, ailing gadgets) in their (metaphorical) closet.

In fact, according to a European Union report, in 2024, 51% people kept their old smartphones even though they were no longer using them, and 34% were still holding onto their outdated laptops and tablets. We just don't know what to do with our old kit.

So, do you throw away your broken over-ear headphones and buy a new pair? Do you hunt down your nearest electronics recycling bank, or donate them to an organization which could use the parts? In recent years, the second-hand tech industry has boomed, with refurbishing and reselling sites such as Back Market and Refurbed ensuring that used gadgets get a second lease of life.

But too often, that first lease of life is all-too-easily abandoned. The tech you might be recycling — or consigning straight to landfill — might actually be easily repairable.

Per the BBC, a survey suggested that 7,000,000 wireless headphones (yes, seven-million) were thrown away in 2022, in the UK alone. And as we'll explore later, the majority of those may not have needed throwing away.

There's a simple truth. Gadget sellers are often loathe to admit it, worrying that repairing your own gadgets may affect their bottom line. And as we'll also soon learn, many companies seem to make repairs really quite difficult.

The thing is, your faulty gadget may be only a quick fix from working like new. From complicated pieces of kit such as AV machines and computers, to white-label toasters and kettles, electronics can often be repaired at home, for a fraction of the cost of buying new... within reason.

The long road to repairable tech

Tech repairability isn't a new concept, but it's a rather new debate. Or, at least, it's one that's only recently been at the forefront of the news cycle, under the somewhat beige name 'right to repair'.

For two years now, repairability has been of growing importance to politicians as well as makers. In July 2024, the EU entered into force its 'Directive on repair of goods', and since Europe is a major market for tech companies, changes made for the region have been reflected in tech sold globally.

Designed to go hand-in-hand with several other EU policies on eco-friendly design, the repair directive is designed to make your gadgets easier to fix.

For example, electronics makers are now obliged to repair faulty kit, or make spare parts accessible for a reasonable price, so that third parties can do the repairs for you.

There are several knock-on effects to this and follow-up motions, the most reported being that phone makers will have to fit readily-removable batteries, and manufacturers will have to provide tools so you can make repairs yourself. These rules are changing how companies make their products.

However, there are several exceptions: gadgets designed for wet use, including wearables and headphones won't need to change. And, more importantly, any gadget sold before the European Union's legislation went into effect will of course miss out on these repairability boons.

Some companies may look for loopholes — but not Fairphone

Before repairability was codified in legislation, it was still a focus for certain brands. One of those was Fairphone, a Dutch brand which began life as a campaign about conflict minerals in tech, and now makes phones and headphones. Miquel Ballester, its Head of Product, explained to us why it made the jump into physical devices:

"You can put the most ethically sourced materials in the world into a device, but if it dies in a year and a half because a battery's glued in, you've undone most of the good you just did".

He continued: "In the case of smartphones, earbuds, and headphones, repairability was what made the rest of the mission focus on bringing action into the industry. We've been fighting this fight for over a decade, long before 'right to repair' was something people brought up at dinner."

Fairphone devices are modular, meaning you can easily remove and replace the screen, camera, batteries, or other parts, all without having to extricate them from a tightly-packed device. The brand sells replacement parts online, so you can repair faulty components at home.

According to Ballester, Fairphone found that making its phones repairable didn't mean it had to change the performance and style of its products, but there was an impact on the price: "Designing for modularity means you're working with connectors, seams, and screws instead of glue and epoxy, and that adds a bit of cost compared to a phone that's built to be sealed shut forever".

Don't chase a high IP-rating (when you probably don't need it)

I also asked Ballester if any components or specs struggle in repairable gadgets. "Waterproofing is the one I'd point to first," he explained, railing against the trend of tech companies chasing an IP68 rating.

"Realistically, unless you're taking your phone free diving, IP55 gets you everything you actually need. It holds up against rain, spilled coffee, sweat at the gym, all the situations people actually put their phones through."

So, not IP68, which guarantees you protection for 30 minutes in a meter of water? "Chasing that rating basically forces you into permanent seals and factory-glued seams, because that's still the easiest way to guarantee a device survives being submerged.

"We'd rather give you a device that can be opened and repaired for the next seven years than one that survives a swimming pool once and then can't have its battery replaced. It's a genuinely difficult engineering line to walk, and I won't pretend IP68 wouldn't look nice on a spec sheet, but chasing it would mean compromising the thing we actually care about."

As mentioned, the EU's right to repair changes mean that companies may have to sell tools to repair their gadgets. But for Fairphone, that isn't a problem; they've been designed not to require proprietary tools. A Phillips screwdriver is all you need.

But how repairable is tech really?

Just because a company doesn't make gadget repairability a selling point, doesn't mean that you can't easily fix it. To learn more about the repair process, I visited a local community repair shop called Fixing Factory, which operates several locations in London, UK.

Fixing Factory lets residents bring in broken items to get them repaired, but it also operates as a way to train volunteers in fixing household items.

When I visited the Fixing Factory's Camden location, the streets around the shop were abuzz — England was just hours away from its ultimately-unsuccessful World Cup match against Argentina. But inside the repair shop, a different kind of squad was assembled: a troop of junior repairers (volunteers learning how to repair tech) were being briefed on safety procedures.

As I waited, I got to admire the huge collection of gadgets in various stages of repair (or lack thereof, in the cases of some training toasters). Laptops, vacuum cleaners, radios, even some throwback iPod nanos. Waiting alongside me was an older lady, who'd somehow managed to transport several startlingly-sized antique lamps in a series of backpacks and strollers, all ready to be repaired by the volunteers.

Not all of the Fixing Factory attendees were in training, and I was lucky enough to speak to several of the expert volunteers. They explained to me how to tell if a gadget can be repaired, what to do if you want to fix your tech, and when you should rely on an expert to bring your tech up to spec.

Identifying gadgets as repairable

One repair volunteer, describing themselves as a 'generalist' who liked to fix everything, told me how they'd helped create the teaching material for the trainees in the next room and explained how they work out if a gadget can be fixed in the first place.

"The first thing we do is we will safety check the device. If we've got a plug, we'll make sure we do PAT testing [a standardized way of checking the safety of portable appliances], and then everything goes into an RCD [Residual Current Device, which can instantly turn off power if something goes wrong] before we plug it in, and then we'll do a functional test.

"From there, we'll then diagnose what's going wrong and sit down with a member of the public, and work with them and go: 'okay, tell me the story, what happened, what's not working.'"

From what I was told, about half of the people with broken tech know why it's broken, either because of their own research or because the fault is obvious. And the other half "just have no clue".

The volunteer told me about a recent trial the group conducted, in which they went to a local recycling facility for several months, to log the kind of items thrown away and how much was actually repairable.

"We had far in excess of 70% repairability on e-waste. And so I like to think that's probably reflective of what comes into Fixing Factory locations."

I was staggered by that number; by the sounds of it, well over half of the gadgets we throw away could actually be fixed!

Stats from a similar study carried out by The Restart Project also found that only 12.4% of electrical devices thrown away were truly at the end of their life span. A further 7.2% needed repairs that were deemed too costly to be worthwhile; 9.5% were economical to repair; 36.2% were working just fine, and for the remaining 34.7% it wasn't possible to determine what state of life they were in.

Looking back at that 7,000,000 headphone figure I mentioned before, that'd suggest about 2.5 million of them could get back to a state of working just fine. Truly, the trash is not the first destination for faulty gadgets.

Do (or don't) try this at home

Repair shops such as Fixing Factory are one option for handling your broken tech, but how easy are they to fix at home? (Unless you have a Fairphone product, of course). I spoke to another Fixing Factory volunteer to find out.

Kevin, a student at a local university, told me: "You can literally fix anything if you watch enough YouTube... but it's pretty complicated".

He was one of many volunteers who flagged YouTube and the iFixit channel (and website) specifically, as an invaluable source of information for prospective home repairers. The site publishes teardowns, repair guides, and has an active forum to help you understand just how feasible a home repair is.

Sometimes, even this isn't necessary: "A lot of things are just dirty and need to be cleaned deeply."

This is something I understand all too well; a deep-clean of my home-built PC recently made me realize that I didn't need to buy new parts. It was just dusty.

Kevin gave some sage advice: "Take good notes or good photos to make sure you put [the gadget] back together correctly".

Another volunteer pointed out, though, that online guides and a little clean both play second fiddle to another, more important type of learning: "Sitting down with someone and sharing the experience, I think is something that's very valuable."

Not all tech is worth repairing

Most of the advice so far has pertained to smaller electricals and 'safer' items, but often you want to fix something more complicated. When I asked one volunteer whether home tech repairs were feasible, I was told: "Is it feasible? Yes. Is it safe? Questionable."

There are several dangers involved with lithium-ion batteries, the kind of which you find in most portable gadgets, and their predilection for catching fire is chief amongst them. You don't even have to be repairing them for disaster to strike.

The North London Waste Authority has identified several types of lithium-ion battery-toting gadgets — including smartphones and electric toothbrushes — as major fire risks. According to the organization, which handles waste disposal for seven London boroughs, "electrical items can easily catch fire if they are thrown into general waste and become damaged in waste vehicles".

A spokesperson told me that, across 2025, they saw at least 20 fires which could be linked to battery combustion. They even shared a video of one such incident, which you can see above. Stats from the National Fire Chiefs Council point to there being over 1,200 battery fires across the UK in bin lorries and waste sites that same year.

And it's even worse if you're intentionally trying to fiddle around with them.

"One false move and you can suddenly have a nasty fire," one volunteer told me, adding, "Equally, when you're dealing with mains voltage, you can suffer some serious burns, let alone cardiac arrest. I would encourage anybody to find a friendly electrician, or someone with some qualifications, or a place like Fixing Factory."

Unrepairable tech isn't a manufacturing accident, as the Senior Workshop Manager and Operational Specialist of the Fixing Factory location I visited, Petra Backovska, explained to me. "Sometimes, you find that tech isn't built to be repaired, or repaired easily. And if there's something that wasn't made to be repaired, they make it really hard for you to do it — you can actually break it very, very easily".

Backovska identified cheap electronics manufacturers as a prime culprit for unrepairable tech, where important considerations are forgotten in favor of low costs and mass production. But more complex electronics were just as bad: "There could be things that need to have a CE mark on every item [as opposed to one for the entire gadget]".

This is a mark affixed to most tech products sold in the European Economic Area to show that they're compliant with European health, safety and environmental standards. It'll be familiar to anyone who lives in the area; inspect any gadget within arm's reach, you'll likely find the mark hidden somewhere.

"So if the item doesn't have a CE mark, it's not safe, and we're not going to touch it anyways. So that could increase the number of things that we turn down, because we just don't know if it was manufactured safely."

I was also told that such a mark doesn't necessarily mean tech is safe: "Sometimes the mark is actually fake, and someone just slapped it on and didn't actually do all of the standardized testing in the process, which allowed them to produce something in large quantities very quickly, to sell it very cheap. But that also means that the item is not safe."

So how do you know if something should be repaired at home, or by an expert? Every volunteer advised that, if in doubt, consult an expert or take it to a repair shop: "It's that classic thing: asking is always the safest way."

There's a hard way to learn, and an easy way

Given the risks mentioned, I asked whether repairing tech from home could actually be dangerous, but was told by Backovska, "It doesn't have to be, but you need to have some training and follow the safety steps."

"If you jump into something just guessing things, then you're learning the hard way — and the hard way might be that you give yourself an electric shock. If you don't have experience with repairing, bring it to your local repair group."

I was told that Fixing Factory works with regulators, safety experts and product designers in order to create health and safety processes. These are taught to trainee volunteers, many of whom pass them onto customers whose goods are broken.

One of the volunteers I spoke to helped develop the training courses I got to witness, and told me that gadget-specific skills were often passed along, between volunteers and gadget owners.

The money and the waste

At the heart of the matter, two key reasons define why tech repairs are important. The first is economical: it will often be much cheaper to fix a device than to buy a new one. Second is the environmental impact: e-waste is a massive (and growing) problem, and keeping a hold of old gadgets (by repairing them) reduces the amount of clutter in landfill.

I love to quote a United Nations stat looking at e-waste from 2022: apparently, it'd fill roughly "enough trucks to form a bumper-to-bumper line encircling the equator". Our planet has a gastric band of junk, and hopefully, it'll push us to stop throwing away electronics. It's one of the core drives behind the aforementioned EU legislation.

The Restart Project is a UK-based charity which focuses on the right to repair electronics; it lobbies for legislation, helps organize repair groups (like the Fixing Factory I visited) and educates on the state of electronics. I spoke to Fiona Dear, co-Director at The Restart Project, to learn where repairable tech is going in the future.

"We have seen a bit of change [from companies] in recent years, and that's generally as a response to legislation. Even if the legislation isn't enacted, [manufacturers' changes are] in anticipation of legislation."

At the moment though (and in Europe, at least), this is limited: "There's only really legislation for two kinds of products. The first is white goods like dishwashers, and there's been legislation in place for a few years now. And it's just expanded to smartphones and tablets in Europe — that's why we're seeing a difference.

"Unfortunately, there's nothing much on the horizon for other product categories". That's why it's such a shame that, as mentioned earlier, wireless earbuds have seen a repairability exemption.

A problem of parts pairing

When I asked how technological changes are affecting repairability, one massive problem reared its head, which Dear called out specifically: "Parts pairing".

Parts pairing is a software limitation some brands apply to their devices. The gadgets will recognize when non-native parts are added, and throw up an error message when you try to use them.

For example, a phone might not let you use a new screen, a pair of headphones might reject their drivers, or a laptop might not play with a battery you install. In fact, software seems to be public enemy number one for tech repairability at the moment.

"A dishwasher or even a toaster, might have some kind of smart element in it," Dear explained, "which means it's dependent on software, and software isn't designed to last for as long as the mechanics of the product".

As iFixit points out in its guide to parts pairing, this is done by brands to encourage you to use its own repair services, instead of third-party ones (or repairing your own tech at home, using replacement parts). Often, the brand in question has unique access to make these error messages disappear. Dear flagged refurbished smartphones as being especially susceptible to this practice.

"Parts pairing is, in my personal opinion, one of the more cynical practices in this industry", Fairphone's Miquel Ballester explained. "Every component we ship, whether it's a battery in a Fairphone or bud and case battery in Fairbuds, is built to be freely interchangeable".

But software limitations remain an issue for tech longevity. "The repair experts who point out that software is the real bottleneck are right. It's exactly why we also treat long-term software support as inseparable from the repairability story".

The brand's latest mobile, the Fairphone 6, has a guaranteed 8 major Android updates, one of the longest life spans pledged by an Android maker. For many years, any more than two years' updates were a rarity, but nowadays companies are offering more and more updates. The Samsung Galaxy S26 and Google Pixel 10 series, for example, both have 7 years in the can.

It takes a change of attitude

When I told peers that I was working on a tech repair piece, I received some intriguing reactions. Some view it as a great way to keep your gadgets ticking along (as it should be), but stories of cowboy repairers abound.

Recently, we covered a story about a Best Buy repairer who downloaded private photos from a broken iPhone, and some people I spoke to seemed to harbor suspicion towards the rows of mobile phone repair shops which line some British high streets.

But the high proliferation of gadget repair stores is indicative of something different: a strong demand for our gadgets to keep working longer. Tech shops aren't fronts for dodgy dealings; they fix the devices we use every day, which is probably a more lucrative market than narcotics or single-use vapes.

Over the last few years, the rise of AI has driven up memory prices, causing gadgets to cost a lot more money, and new purchases to be more and more of a treat. You've surely noticed that electronics purchases nowadays cost a lot more (and bundle in some useless AI tools as a consolation prize, but that's a gripe for another day).

With no sign of that slowing down, gadget repairs are only going to be more and more important. And so a change is needed: a change in attitude to tech fixing, a change in our own skill sets so we're able to do so at home, and a change in legislation so that companies have to make it easier for us to mend our ailing electronics.

I’ve tested more than 50 Bluetooth speakers, and whenever I review a new model, there are a number of factors to consider. Do its features rival the competition? Can its design merge beauty with practicality? Is it actually worth the asking price? But one question is more important than any other: does it genuinely sound good?

This raised a deep curiosity within me. What if a Bluetooth speaker was judged on sound alone, with elements such as pricing, brand reputation, and looks holding no influence on people’s perception of quality? Well, I decided to find out for myself, and blindfolded four of my colleagues for a blind speaker test.

I played a 30-second snippet of a track, asked listeners to make notes, and when each speaker had been tested, I got my participants to rank each speaker from 1 to 5 (with 1 being the best, and 5 the worst). We repeated this process across five different tracks, each spanning a range of genres, in order to determine which sounded the best.

A few things to run through before we get into the results, though. The volume of the speakers were all equalized, but I ensured not to push them above 80% volume, in order to limit distortion and compression. Each speaker was also set to its default EQ, and tracks were streamed from a single source device over Spotify. Also, my listeners had no prior knowledge of the speakers involved in the test, so as to cancel out any prejudices or prior experiences they may potentially hold.

I decided to use five speakers in a very similar size category: the JBL Go 5, the IKEA Kallsup, the Bose SoundLink Micro Gen 2, the Edifier ES20, and the Ultimate Ears Miniroll. Some have a higher power output than others and some are considerably cheaper (or pricier) than others. And some sit in our guide to the best Bluetooth speakers, while others have fallen short. But interestingly, rankings varied quite a fair bit depending on the track and listener involved.

Curious to find out who came out on top? Here’s how our listeners ranked each speaker across each track, as well as the final scores.

Track 1: Fascinator by Max Dean

I started with a house track, Fascinator by Max Dean. I asked participants to listen to a short lead up to some sub-bass, and while I emphasized that the small models wouldn’t produce roaring power, I asked them to assess how well the speakers manage it. When the drop came in, I also asked them to judge how controlled and precise drums sounded in the treble range.

The results were pretty interesting here. Our cheapest option, the $10 / £5 IKEA Kallsup was the clear loser, with one listener, Caspar, noting ‘tinny’ highs and underwhelming bass — a sentiment generally shared across the board. It was quite close between JBL and Edifier here, with some listeners noting a slight lack in low-end impact, but improved mid-range performance and tighter treble.

However, the clear winner was Bose, which ranked 1st with all of our participants — and spoiler alert, this was the only instance of a unanimous verdict across the entire experiment. One listener, Ashley, noted how the track sounded ‘balanced with no distortion’ with others including Josh and Erin highlighting meatier bass and a pleasingly warm tone.

Track 2: Orphans by Cero

I changed up the vibe for Track 2, and played a snippet from the jazz-infused indie pop track Orphans by Japanese band Cero. Vocals are meant to be slightly forward, so I asked listeners to determine how well the speakers captured this, while also prompting them to judge how well-balanced percussion and guitars were in the mix.

The Kallsup unfortunately finished in last place once more, with Josh highlighting ‘rolled off’ vocals and unclear guitars in the mid-range. However, the JBL Go 5 wasn’t far in front, with Erin noting ‘lifeless guitars’.

The Edifier ES20 and UE Miniroll performed well, though, with participants highlighting better balance across the frequency range, warmer and more prominent vocals, and cleaner bass. The SoundLink Micro Gen 2 took the win once more, though, with an emphasis on clearer, more tonally accurate guitars, well-defined vocals, and more articulate percussion.

Track 3: The Girl From Ipanema by Stan Getz

I wanted to try out something softer next, so I went for the legendary Bossa Nova track, The Girl From Ipanema by Stan Getz. I requested my blindfolded colleagues to tune into the separation between guitars and vocals, the subtlety and texture of vocals and percussion, and control of the double bass. And this is where things got really interesting.

Surprisingly, Bose, which had been bossing it so far, finished in a lowly 4th place here, with listeners generally expressing disappointment with the speaker’s overemphasized bass and slightly unrefined treble response.

However, one thing remained the same, as the IKEA Kallsup came in 5th place. In fact, this was the only occasion in which every listener decided the Kallsup was the worst performer, with Erin writing: ‘No. What? What is this? It sounds like there’s a horde of bees trying to escape.’ Ouch.

Our champion this time out was the Edifier ES20, a speaker which I’ve often championed for its supreme mid-range clarity. Listeners appreciated this model’s beautifully balanced presentation, textured and controlled double bass, and detailed vocals. The UE Miniroll and JBL Go 5 finished 2nd and 3rd respectively, with our participants widely noting their relatively expansive interpretation of the track, and talking up their crisp, textured handling of vocals.

Track 4: Come On, Come Over by Jaco Pastorius

But how did the speaker manage a busier, more chaotic mix? I threw on Come On, Come Over by Jaco Pastorius, a funky, high-octane track that has it all. Participants were told to listen for the aggressiveness and clarity of horns, the quality of the track’s mid-bass punch, and how the speakers manage the swathe of instruments and vocals.

And it seemed that in this test, order was restored to how it had been up until Track 3. Bose came out on top, with Ashley praising the speaker’s balanced approach and Caspar highlighting the SoundLink Micro Gen 2’s impactful low end and enhanced vocal clarity. However, the Edifier ES20 and UE Miniroll did run Bose very close indeed. Participants enjoyed the tonality of the vocals, the decently open soundstage, and solid separation on offer.

IKEA’s Kallsup fell to last place, however, largely due to its unregimented bass and tinny mids. Meanwhile, listeners also felt that the JBL Go 5 struggled with the business of the tune, though some did highlight solid clarity in the treble range.

Track 5: Black Eye by Allie X

With Track 5, I wanted to assess the portable speakers’ handling of dynamics, so I went with an electronic song from TechRadar’s reference playlist, Black Eye by Allie X. Colleagues were asked to hone in on the attack of strings in the beginning of the snippet, and assess the control and dynamism of the bass and its impact, as well as the breathiness and detailing in the vocals.

And this was an incredibly close battle between Bose, Edifier, and Ultimate Ears. Bose just about managed to top the podium, with Erin delighted with the ‘dramatic strings’ and ‘expansive vocals,’ and Caspar highlighting dynamic bass and ‘nice balance between vocals and instruments’.

Josh’s favorite was the ES20, stating that vocals were ‘wonderfully conveyed’ and that bass was ‘punchy yet controlled’. Ashley, however, liked the UE Miniroll the most, arguing that it offered the cleanest low-end and most articulate vocals of the bunch.

But the poor Kallsup finished in 5th once more. Muted synths, a lack of texture and kick in the low-end, and recessed vocals left our listeners wanting more.

Final results: and the winner is…

So, the experiment drew to a close. Our listeners handed over their final scores, and I totaled them up to discover which speaker was king on sound alone. And the winner was… the Bose SoundLink Micro Gen 2!

Was I surprised by the result? Well, not entirely. I personally think this is a great-sounding small speaker, and its ability to produce meatier bass than much of the competition, alongside more precision in the treble range and clearer separation was all it needed to scoop up top spot.

What’s important to recognize, though, is that Bose’s small speaker is far pricier than all of the competition. It has a list price of $129 / £119.95, and while it certainly produces the goods in terms of sound, that’s an awfully high price tag given that you can nab larger, meatier, and more feature-rich models at that cost — the JBL Flip 7 is probably the first that comes to mind.

I was surprised, however, that the Edifier ES20 did so well. Josh selected the ES20 as his overall favorite, and it continually competed closely with Bose throughout, even topping the table in Track 3. In the UK, it’s less than half the price of the Bose SoundLink Micro Gen 2, but you really wouldn’t think so. Its composure and clarity in the mid-range is exceptional, and it has enough warm bass and controlled treble to keep more energetic tracks sounding as they should. If you want value for money, I think this model is absolutely worth checking out.

Another standout was the UE Miniroll, which Ashley picked out as her personal favorite. It continued to plate up clear mids and bass throughout, and I think it earns its relatively modest price.

Some may be surprised to see the JBL Go 5 a bit off the pace in 4th, but I still think it produced a solid performance across the experiment considering its limitations. It has a weaker power output than the top 3 speakers, which limits its ability to provide the drive and low-end might that others can. And although it could’ve offered slightly better separation, it's still a great small speaker given its low asking price of $54.95 / £39.99.

I felt very sorry for the IKEA Kallsup, which was regularly placed last by each of our participants. However, in the IKEA speaker's defense, not only does it have the lowest power output of the bunch (at just 3W), but it’s just $9.99 / £5. Yes, it's extremely cheap, and so the fact that it occasionally squeaked 4th place here and there is impressive in itself.

Check out the final table below, where you can see the final scores and rankings for each speaker, as well as their typical asking price. Were the results as you expected? Let me know in the comments!

Nothing Ear (3a): Two-minute review

Sometimes, reviews are written with a heavy heart, and this is exactly that. I've championed Nothing's affordable "(a)" earbuds for well over two years — with the updated pink set for 2026 appearing to be right up my strasse. But all is not as it first appears.

The issues don't concern their cost. Like before, they come in at just under $100 and are therefore a candidate for our best budget earbuds guide.

Bizarrely, for the review star rating, I also have very few bones to pick with audio quality, which is still best pals with LDAC and now with Bluetooth 6.0 for a stronger connection. I recommend you tweak the sound profile from the box, mind — it's overly bassy by default — but that's hardly unheard of for earbuds at this level, and it can be rectified with a little effort.

It would have been lovely if Nothing had allowed its special sonic tests (for personalised EQ profile curation done by Nothing's software, rather than you tweaking sliders or blobs yourself) to be made available here, but the company has clearly decided that its three-minute hearing test is flagship only — although there is a new "Advanced" 8-band EQ tab with "Q factor" (more on this later).

What of the comfort levels and overall build quality? Here you get everything you'd expect of Nothing: rock-solid, colorful, and with just a couple of new flourishes to enjoy. Battery life has taken a knock, but that might possibly be down to having to work a bigger driver.

So what's the main problem? Actually there are two: Call Recording and Audio Snapshot (sometimes referred to as Audio Capture in Nothing's extensive marketing). Nobody asked for these features and, honestly, they're not the USP I wanted — even as a journalist who interviews people regularly.

None of the best noise-cancelling earbuds we recommend come with these features, but that's hardly a problem in itself. Such tech exists in the world, obviously; I point you to the Viaim RecDot, for example. But the Viaim's buds publicise their raison d'etre; there's a visible "record" button on the case, a light for in-person meetings, and a business-class $249.99 / £185 price tag. That's not the case with Nothing's version, where a surreptitious squeeze of the stem kicks off audio capture of your current call (or whatsapp voice note) in a set of buds that otherwise seem to scream "I'm a bit of fun!"

As with the RecDot, Nothing offers tech to transcribe your recordings (and not just on its own phones, either) — to a point. You get three months of its Pro Transcription service for free, with 120 minutes to use each month. And after the trial? Nothing tells me official pricing hasn't yet been finalised, but will be decided in August. If it was hard to recommend such a package before, it's even harder now when one doesn't know how much it will cost.

I can't help but feel that Nothing has taken a wrong turn here. I'd much rather have seen fan-favorite features such as personalised sound profiles and/or wireless charging rather than in-call recording. Some TechRadar team members have suggested I make like Elsa and just Let It Go, but in a year when consumer tech already feels uncomfortably intrusive (Meta, I'm looking at you with those smart glasses), adding call and voice note recording feels like a step too far. It's important to question where these features are taking us.

At $99 / £99, the price is definitely right. I'm just not sure the feature set is…

Nothing Ear (3a) review: Price & release date

• Released on July 7, 2026
• Priced $99 / £99 / around AU$192, same as the 2024 Ear (a)

The Nothing Ear (3a) cost the same as their predecessor, priced at $99 / £99.

Although the name might suggest otherwise, these are the direct successors to the excellent, five-star Nothing Ear (a) from 2024 – there was never a Nothing Ear (1a) or Nothing Ear (2a). They also slot nicely alongside the still-current but more expensive Nothing Ear (3), with the shared 3 denoting that they're part of the same generation.

The Ear (a) are some of the best budget earbuds I've ever had the pleasure of testing, and I'd looked forward to their update ever since word was out that it was coming.

Key rivals to the Nothing Ear (3a) include the Apple AirPods 4, which offer gesture control alongside a few other iPhone-exclusive features, or, for a little less, the five-star Cambridge Audio Melomania A100. If you're tempted by open earbuds instead, the Huawei FreeArc or even clip-style SoundPEATS Clip1 can both be picked up for less than the Nothing Ear (3a) right now, making them excellent-value alternatives.

Nothing Ear (3a) review: Specs

Nothing Ear (3a) review: Features

• Bluetooth 6.0 (15m range) with LDAC support
• Improved ANC (cancellation up to 45 dB, effective to 5 kHz)
• Pinch stems for Call Recording/Audio Snapshot, no Nothing phone required

It would be easy to say, "Look, you don't like the cutesy branding of Nothing's new 'Audio Snapshot' offering? Don't use it — there's still plenty to like for $99!" but let's dig in to see why the take is not so simple.

Firstly, we should get granular on what Audio Snapshot and Call Recording do, and what they cannot do. I mentioned above that as a journalist, I regularly record interviews, often over Zoom, Google Meet or even Microsoft Teams. When set up as an interview, my subjects usually take it as a given that I will be recording — and where I reside in the UK, it is legal to record calls, even without consent from the other party. I still always ask.

In the US, however, the laws on recording phone calls are different, varying from state to state. For calls crossing state lines, the stricter 'two party consent' law (as per the Federal Wiretap Act) applies, where both parties on a call must consent to a recording.

So what is Nothing doing about it? In its reviewers' guide, the company says it "aligns with internationally recognised privacy standards ISO 27001, ISO 27701 and EN 18031". To this end, during setup, the Nothing X app also displays a short tutorial reminding users to obtain permission before recording calls — as shown below.

Interestingly, on a traditional phone call made in the UK, the "prompt" Nothing promises will be played to everyone on the call is a simple beep. On Google Meet, a female voice announces "This call will be recorded in 3, 2, 1", presumably so anyone not OK with that can scream "Oh no you don't!". From smartphone to smartphone, there's no vocal.

Thanks to the Nothing Ear (3a)'s 32MB of onboard storage, you can start recording with just a pinch of the stems, storing up to two hours of audio on the earbuds themselves. You can also record and transcribe voice notes from apps such as Instagram or WhatsApp — and from August, Nothing says it will add summaries of call recordings, speaker identification and the ability to create calendar reminders based on what was discussed.

What these earbuds can't do is record conversations that take place around you, or indeed your own voice. So, thankfully, there's no scope for eavesdropping around the water cooler.

However, my thoughts on this are clear— I'm not wholly OK with it. It puts the onus on buyers to adhere to laws, and opens the door for flouting rules of consent. I tried muting my mics to see whether the beep could be silenced, but it still plays for the person on the other end of the call to signal that recording has begun. Nevertheless, I think I've made my concerns around this feature clear.

Elsewhere, you get Bluetooth v6.0 and LDAC support for hi-res audio (the Sony-developed codec that lets you stream high-resolution audio up to 32-bit/96kHz over Bluetooth at up to 990kbps, if your device supports it and the file is up to scratch). While the predecessor did also include the latter, it remains a valuable inclusion here.

There's also onboard spatial audio, albeit of the "static" variety rather than head-tracked spatial audio that keeps the sound anchored to your source device as you move your head. It adds a little extra depth and height to the presentation, but for me, the effect is decidedly light-touch compared to what you get from pricier earbuds.

Note that you don't get the Ear (3)'s splendid personalized hearing tests, or the useful "walkie-talkie" Super Mic. That said, there's in-ear detection (to pause music when you remove the buds and resume it when they're in), a low-lag toggle for gaming, seamless pairing, multipoint to two devices, an ear-tip fit test and a Find My Earbuds feature, which emits a rattlesnake-style sound from whichever bud you're trying to locate, to help you find it.

Nothing's Transparency mode is decent. It's a little warm, but it still delivers a more three-dimensional presentation than many buds at this level. I could hear the placement of the TV, voices in my home and a dog outside, rather than all of these sounds appearing tinny, omnipresent and seemingly on top of one another.

When deploying ANC (rather than "Transparency" or "Off"), you can once again select from High, Mid, Low, and Adaptive noise-nixing profiles. High is decent: Nothing tells me performance is up to 45dB (effective to 5 kHz), which equates to a 17.1% improvement compared to the Ear (a), thanks to a software upgrade and improved architecture regarding where the mic sits.

The issue in 2026 is the existence of the AirPods Pro 3 and Bose QuietComfort Ultra Earbuds (Gen 2). Although it would be unfair to compare like for like, owing to the chasm in pricing, you can get better if you're willing to pay for it. That said, the ANC here is no slouch, giving a fairly clean, largely uninterrupted and issue-free neutral background for my music.

If you have a Nothing Phone, the Nothing X app and the ChatGPT app, then you can once again you can also access ChatGPT access via the Ear (3a)'s stem; simply squeeze and talk.

The new EQ tab is now an eight-band offering (up from three in the older buds), as well as the more basic audio splodge Nothing made its own — and which I rather like since it reminds me of Nura True Pro's visual depictions, rather than a mixing desk. You also get five presets in the Advanced tab, and four in the Simple tab — but you can create your custom EQ using whichever system you prefer.

And I think you'll need to get familiar with these, as I'm about to explain…

• Features score: 4 / 5

Nothing Ear (3a) review: Sound quality

• LDAC support represents value
• Fun, V-shaped sound — if a little quiet
• A little bass-heavy from the box, but you can fix it

As was the case with their siblings, it would be wrong of me to knock Nothing Ear (3a) in the sonic department for this money. The sound quality is easily worthy of the outlay.

That said, there are a few points to bring to your attention.

Those with a Sony or Samsung smartphone (I used a Sony Xperia) will find much to celebrate in LDAC music streaming. In My Chemical Romance's The Ghost of You, guitars snake from my left to right ear in a cohesive mix — with Gerard Way's vocal central, petulant and every bit as emotive as I remember it in the mid-noughties.

Even when I stream Apple Music songs from my iPhone, the Nothing Ear (3a) offer ample width as my playlist continues to Thank You For the Venom and the intro guitars find a spacious home in my left ear. There's room around every stem in the mix to shine, but they're all held properly in check, even in this fast-paced and challenging song.

It's a little bass-heavy at times, though. Fleetwood Mac's The Chain is a good test of a regimented low-end, and alongside the kick-drums, I did lose just a little of Stevie Nicks, Christine McVie, and Lindsey Buckingham in that glorious upper harmony through the chorus. It seems to be Nothing's modus operandi to offer a bassy listen generally, and while I did find that the new Advanced EQ tab helped, I think the enhanced low-end went a little far here.

Nothing offers a "Q Factor" in addition to what you've just tweaked in the 8-band tab, to control the width or sharpness of your adjustment. So, imagine it as a "quality factor" (because that is what it stands for), where the number you select between 0.1 and 10 determines how wide or narrow of a frequency range is boosted or cut — all of this specific to your chosen frequency. Selecting a low Q Factor will generate a wider, more gentle curve to your adjustment, where a high Q Factor will make the change narrower, steeper and more effective around that specific frequency augmentation (or reduction).

I eased off the bass and selected a Q Factor of 3.2, but you must of course play with these things yourself — and sadly, Nothing hasn't included its hearing tests here, to check how perceptive your ears are within this particular tuning.

For dynamics and nuance, the Nothing Ear (3a) are perhaps a shade less engaging and arresting than I'm used to, owing to their volume. Once criticism often levelled at Nothing's budget earbuds is they don't go especially loud, and I frequently found myself listening above 50% volume. Also, since battery life is measured at that volume, it did mean the quoted "4.5-hour battery life with ANC deployed" claims although bang on, were still disappointing.

• Sound quality score: 4 / 5

Nothing Ear (3a) review: Design

• Curvier case
• That 1mm bigger driver is sucks up power
• And the battery life isn't great

Hold the Nothing Ear (3a) earpieces and case next to their older Nothing Ear (a) and you'll certainly struggle in a game of spot the difference. There's the color, obviously — also available in black, white and a slightly different yellow to the hue I love in this older set — and the 50% curvier case. There's also a trio of LEDs on the case that deliver a total of six status indications for battery status, pairing status, charging levels and so on.

For further tweaks, we have to look deeper.

The driver is now 12mm rather than 11mm and features an "aerospace-grade diaphragm". You also get an extra set of ear-tips in the box, four in total, and although the XS will appeal to owners of small ears, the actual earpieces here aren't tiny, despite being lighter in weight than Ear (a), at 4.53g versus 4.8g. The actual design of the tips has been finessed, too: they're a little thicker and more flared across the outer wall. I found the buds very secure, if a little big to accommodate comfortably over my small-ish ears over the course of long listening sessions.

I've said it before now and I'll say it again: I think we've reached a point of diminishing — perhaps even negative — returns when it comes to ever-larger earbud drivers. Every new release seems to tout a bigger driver without adding weight, as if bigger automatically means better. But where does it end? 13mm drivers? 15mm drivers? To my ears, the Ear (3a)'s 1mm larger driver hasn't negatively impacted the sound, but I don wonder if it's contributed to sthe shorter battery life. In my briefing, I was told the buds themselves would last 10 hours — but that turned out not to be the case.

While the battery in each earpiece — along with the larger driver and onboard 16MB flash drive — works hard to power the buds, it's only good for up to 6 hours without ANC, or 4.5 hours with ANC turned on. And remember, I had to pump the volume up higher than 50%, which the level at which those measurements are typically taken. With the case, you'll get up to 25 hours with ANC off, or up to 18 hours with it on.

None of these stats is much to write home about. Take Nothing's own Ear (a), which offered up to 9.5 hours of playback on a single charge with ANC off, and about 5.5 hours with ANC on. Now, consider the very inexpensive Cambridge Melomania A100, which offer 11 hours per charge or up to 39 hours with the case, along with aptX Lossless. I know which I'd rather take on long road-trips…

Again, Nothing's pinch-to-control stems return here, and while volume controls aren't enabled by default, you can assign them in the Nothing X app — provided you're happy to sacrifice another shortcut in the process.

While I'm here, a quick note on call-handling. It's absolutely clear and clean as a whistle, thanks to the 3 MEMS mics per bud.

• Design score: 4 / 5

Nothing Ear (3a) review: Value

• Still very good-looking earbuds
• Decent ANC; not so great for stamina
• LDAC adds value, but call-recording (for me, at least) is a no

Before now, I've always championed Nothing's "(a)" buds — and while the basics in the (3a) are fine, there are a few issues that are hard to ignore.

The Call Recording feature is top of the list here. More than any technical limitation, it's the privacy implications that concern me. Much as seeing someone wearing smart glasses now makes me wonder whether I'm being recorded, these earbuds leave me asking why someone might want to capture our conversations. I appreciate that some readers may see this as an overreaction, but it's a genuine concern for me, informed by my own experiences as a woman and former dancer who had to deal with overly familiar fans.

I think the audio quality here is perfectly acceptable for $99 / £99, but the stamina and feature set can be bettered. Even in the open earbuds market, I'd happily direct you to the cheaper Huawei FreeArc or SoundPEATS Clip1 over these earbuds.

• Value score: 4 / 5

Should I buy the Nothing Ear (3a)?

Nothing Ear (3a) scores

Solid generally, but with battery concerns and a potentially problematic call recording 'feature'

Features

4

Sound Quality

4

Design

4

Battery Life

2.5

Noise Cancellation

4.5

Value

4

Overall

4

012345

Group 1 Data

Product	Features ()	Sound Quality ()	Design ()	Battery Life ()	Noise Cancellation ()	Value ()	Overall ()
Nothing Ear (3a)	4	4	4	2.5	4.5	4	4

Buy them if...

Don't buy them if...

Nothing Ear (3a) review: Also consider

How I tested the Nothing Ear (3a)

• Tested for two weeks, listened against the Ear (a), Bose QuietComfort Ultra Earbuds (Gen 2), Technics EAH-AZ100 and AirPods 4
• Listened in the office, walking along a beach, on a train into London, into Central London and at home
• Listened to Tidal Masters, Apple Music Lossless tracks and Spotify on an iPhone 15 Pro, MacBook Pro and Sony Xperia smartphone

The Nothing Ear (3a) became my primary musical companions for well over two weeks — after a 48-hour run-in period.

They accompanied me to work (walking brusquely to our Paddington office and on the London Underground to various press events) and even walking on a beach at sunset.

To assess comfort levels, ANC and battery life claims, I followed TechRadar's meticulous methodology testing and found much of note — including slightly disappointing stamina.

To check the audio quality across the frequencies, I listened for several hours to my own reference playlists on Apple Music and Tidal, alongside TechRadar's reference tracks, plus podcasts and movies. Additionally, I wore them to watch YouTube tutorials from my MacBook Pro.

I’ve been testing audio products for well over seven years, full-time. As a dancer, aerialist and musical theater performer in another life, sound quality, fit, and user experience have always been a priority for me, but having heard how wonderful ANC can be when done well, I know what I'm listening to here, too.

Read more about how we test earbuds at TechRadar

• First reviewed: July 2026

Shokz OpenDots Air: Two-minute review

I've long pointed to the flagship Shokz OpenDots One as the best open earbuds in the clip-style category, so I'll admit that I watched the release of the brand's budget-grade option with trepidation.

All too often, a brand's wallet-friendly earbuds tend to fit poorly, cut too many features, completely miss the mark sonically, or launch at a price point that doesn't make sense. But I'm happy to report that the Shokz OpenDots Air side-step those issues.

In fact, for most buyers, this pair just makes so much more sense than its sibling, the Shokz OpenDots 2. That's despite the set you're here to read about being an inferior model, on paper.

Like the numbered OpenDots, the Air uses dual 11.8mm drivers; you're only going to be able to hear a difference in sound quality if you really need Dolby Atmos or some of the unique Shokz features (which, I'm guessing, most people don't).

The OpenDots Air take a largely similar design too, which means they're just as reliable in your ear on long runs or gym sessions. Now and then, I did find them to pinch a little, which I take to be the fault of a few design tweaks, but it was nothing that stopped me using them.

There's more: the battery life is great, the carry case is nice and small and the connection was reliable. But some carry-overs are a little less desirable: like other OpenDots, the touch controls are finicky to use. And while Shokz offered some of the best-sounding open earbuds last year, the Air (and 2) launch to a much more competitive market.

What sets the OpenDots Air apart from the 2-suffixed set, making them a better buy, is the price; you can get them for roughly 25% less. For most buyers, I'd say that you should save your money and buy the Air... unless any of the other fantastic cuff-style buds (which typically do undercut any of Shokz' options) pique your interest.

After all, the Shokz premium is still in play, even with its more affordable buds.

Shokz OpenDots Air review: Price and release date

• Launched on June 4, 2026
• Sells for $129.95 / £129.99 / AU$219
• Cheaper alternative to OpenDots 2

The Shokz OpenDots Air were released on June 4, 2026, alongside the OpenDots 2. That was about 10 months after the original OpenDots One became available.

You can buy the earbuds for $129.95 / £129.99 / AU$219, so they're markedly cheaper than the $199.95 / £179.99 / AU$339 OpenDots 2. The original OpenDots One also went for that price, though a year on they're easy to find at around $150 / £150 / AU$239 (and even less during sales).

Note also the flagship Shokz OpenFit Pro, (more 'traditional' shell-like open earbuds) which include noise reduction and launched in January 2026, at the significant cost of $249.95 / £219 / AU$399.

I'll continue to refer to the OpenDots Air as affordable cuff-style buds, but that's only in comparison to the OpenDots 2 and the other Shokz options listed above. Remember, Shokz is a class-leader in this category, and you pay for that. You can easily find great alternatives for even cheaper (we've even listed a few at the bottom of this review).

Shokz OpenDots Air review: Specs

Shokz OpenDots Air review: Features

• You'll get 9 hours of listening; 36 with case
• EQ has four presets, 5-band custom mode
• App is pretty light on features

You're getting 9 hours of battery life with the Shokz OpenDots Air; at least, that's the cited listening time, and from my testing, I have no cause to doubt it. That's a hair below the OpenDots One / 2's 10 hours, but the difference is negligible, and it's still a solid battery life.

The case rounds that figure up to 36 hours of listening, including recharges. That's more in line with industry standards.

As with most open earbuds, there's no noise cancellation here. It's a shame, because Shokz is one of the few companies to offer ANC-adjacent tech in open-ears (the OpenFit Pro have 'noise reduction', but we tested it and it's the same thing), and I find it's even more useful in earbuds of the like.

While the OpenDots Air aren't as featured-packed as many other earbuds, downloading the Shokz app lets you play around with what there is.

Possibly the best reason to download the app is the equalizer; there are four presets (standard, vocal enhancement, bass enhancement and an audio leakage reduction mode), as well as a simplistic five-band custom EQ which lets you create your own mix.

The app also lets you turn on Multipoint Pairing, change what the touch controls do, turn on (or off) microphone noise cancellation in calls, and turn on (or off) wear detection.

Admittedly, the list is a little svelte. Beyond review purposes, I only opened the app a single time, and that was to double-check I hadn't accidentally turned gesture controls off (I hadn't, more on that later).

• Features score: 3.5/5

Shokz OpenDots Air review: Design

• Svelte carry case
• Attractive blue marbled design
• Not designed to stick in the ear

They ain’t called clip-on buds for nothing – the OpenDots Air are clip-shaped earbuds with a C-shaped band joining a rounded earbud with an ovoid counterweight. The 'dot' goes in your ear-well, the 'egg' sits just behind it, looping around the lower part of the helix.

The earbuds weigh 6.3g each, with silicone and plastic making up the casework of the earpiece. I tested them at the gym, on cycles and on runs (and in other, less-intensive settings) and never had a fit issue; that’s a benefit of this form factor, and I’ve never had a wobbly clipper.

However I did find that the Air could pinch a little during longer wear sessions, and I was surprised by the relief I felt at removing them after an hour-plus run. On the topic of criticisms, the buds technically have touch controls, but I could barely get them to pick up my touch. You have to be incredibly precise to find the right spot, and I quickly gave up on using them. At this level, it's not a deal-breaker in this type of design (at least not yet), but it's my job to notice.

You can buy the earbuds in black or purple, a choice which carries over to the charging case. They’re IP55 protected, which means they’re safe from dust and jets of water, but you shouldn’t take them swimming.

The charging case is lighter than most I’ve seen, tipping the scales to the tune of 37.3g — that’s without the buds, and you’re looking at a total package that’s under 50g. It’s nice and small too, and I really appreciate case like this that’s lightweight and portable like this: it disappeared in my pockets with no problem.

The simplicity extends to the ports and buttons; you’re getting a USB-C port but no wireless charging, unlike the OpenDots 2, and intriguingly no Bluetooth pairing override. I don’t recall the last time I saw an earbud case without this ‘hope-you-don’t-need-it’ feature, but Shokz apparently thinks you don’t need it at all.

• Design score: 4.5/5

Shokz OpenDots Air: Sound quality

• Dual 11.8mm drivers
• Well-defined treble and bass
• Some premium features missing

Shokz has found an audio set-up it likes and has stuck with it. As with the OpenDots One and OpenDots 2, the OpenDots Air have two custom 11.8mm drivers providing the music. The company is coy on what each of these drivers are actually handling, but I’m guessing at least one is tuned towards low-end, given how much "Bassphere" is mentioned in marketing.

(What’s Bassphere? Um, a marketing word, by the sounds of it, and Shokz is quite light on specifics. I've done my due journalistic diligence in trying to dig through the fluff to get granular on Bassphere, but have been unsuccessful. It seems to be what the company refers to as its two-driver system.)

The OpenDots Air do miss some features of their pricier stablemates. There’s no Dolby Atmos tuning, for one, and it lacks a few other Shokz-designed features, including MirrorPitch (which aims the sound into your ear) and Bassphere 2.0 (like 1.0, but designed to reduce distortion which could arise from the two-driver system).

Okay, I’ve been dancing around the topic; how do the Shokz OpenDots Air actually sound? They’re rather good, for open-ears — they’re not quite on par with the higher-end OpenDots, or some varied rivals, but I enjoyed listening to music with them.

It’s clear to my ear that one of the drivers is dialled into the low end, giving bass a clear scooping distinction that’s often missing in open-ears. Songs like Brian Kelley’s Beach Cowboy or Kasabian’s Superpowers offer clean low-end that sit comfortably below higher-frequency sounds, without blowing it out.

The lack of support for better-than-vanilla codecs such as LDAC, or seemingly any higher-quality streaming, means audiophiles might not find these an enjoyable listen. I can’t pretend they’re on par with ‘standard’ in-ear earbuds costing this much, including ones which are geared towards sports users. But for fitness-first listeners who need their ear canals free to hear traffic, they’re all you need.

Naturally, when you’re out and about, the bass will struggle a little bit — it has a harder time cutting through surrounding noise than treble does. That’s par for the course for this kind of earbud, but it bears repeating for those not familiar with the form factor.

• Sound quality: 4/5

Shokz OpenDots Air review: Value

• Great value for money compared to Shokz roster
• Other cufflinks undercut these

If you’re comparing the OpenDots Air solely to the OpenDots 2, they're great value: you’re basically getting the same earbuds for a sizeable discount. I see the Air being the better buy for most people, out of the two.

But when you look at the wider earbuds market, my recommendation gets a bit more muted. I’ve tested plenty of pairs of clip-style earbuds that hover at, or below, the £/$100 mark, which perform basically the same as the OpenDots Air do. If you’re not married to buying Shokz buds, then you’ll find a few different money-saving alternatives below.

• Value: 4/5

Should I buy the Shokz OpenDots Air?

Buy them if…

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Shokz OpenDots Air review: Also consider

The open earbuds market is incredibly competitive. Here are some others that I've tested and would recommend.

How I tested the Shokz OpenDots Air

• Tested for one month
• Paired with Android phone for Spotify, streaming and games
• Used during multiple kinds of activities

I used the Shokz OpenDots Air for roughly a month to write this review. This ensured they underwent some extensive testing.

This testing included countless runs, several cycles, many gym sessions, loads of walks around my neighborhood, plays on various kinds of public transport, a house move, and a trip to a surf town during a holiday.

During this time, the buds were paired to my Android smartphone. They got most of their use through Spotify, but I also used them for calls, watching some YouTube videos and playing games.

I've tested gadgets for TechRadar since early 2019. Since that time I've reviewed countless earbuds, including loads of open-style ones and the Shokz OpenDots One.

• First reviewed in July 2026

• Read TechRadar's reviews guarantee

• Spotify is rumored to launch its own song ID tool
• Changes in the Android app were spotted, with references to 'Identify a song’, ‘listening’, and ‘analyzing’
• It could add a level of convenience when adding identified songs to a playlist, just like Apple Music's Shazam shortcut

There’s one thing that Spotify has over Apple Music, and that’s music discovery features, though the latter service has the edge when it comes to music recognition — but that could all change soon.

In a recent investigation from Android Authority, the outlet found lines of code in the latest version of the Spotify app which suggest the platform is working on its own song identification feature. Though this has only been found in Spotify’s Android app, we wouldn’t rule out the possibility of it launching on iOS.

As it is with every rumor, we’re taking this with a pinch of salt until more information surfaces, but Android Authority’s findings present some pretty convincing evidence, showing text that reads ‘Identify a song’, ‘listening’, and ‘analyzing’. It seems the feature will need access to your device’s microphone, and will display pop-ups when a song can’t be identified.

Essentially, it sounds like Spotify is developing its own in-house version of Shazam, which could act as a band-aid for many music fans out there who, like myself, rely on third-party music-recognition software to put titles to songs.

When Apple bought Shazam in 2018, it thrust the music-recognition platform right into the iOS experience. Instead of needing to use the standalone Shazam app, you can add the ‘Recognize Music’ tab to your iOS Control Center for easier access, and Shazam will be right there at your fingertips.

It also works wonders for quickly adding songs to your Apple Music library. When you Shazam a song, a pop-up reading ‘Add to Apple Music?’ appears and all of your tracks will be sent to your library. Until now, this level of convenience wasn't available for Spotify users.

Since Apple took ownership of Shazam, Apple Music and its users have greatly benefited, but listeners who use Spotify, Tidal, and the rest of the best music streaming services have been missing out. Not all was lost however; last year Shazam rolled out a feature where each song you identified using the app would be automatically added to a special playlist in your Spotify account titled ‘My Shazam Tracks’.

I have to say, this small but effective feature has become one of my most-used tools for keeping tabs on new music, but if you Shazam quite a lot of songs from different genres, it creates a very messy-looking playlist.

Even after my Shazamed songs have been added to ‘My Shazam Tracks’, I still go back into the playlist to individually move songs into my other playlists — which is why a native Spotify song ID tool would go a long way, and would be even better if you can add it to your iOS Control Center.

Just think about it: you’re out and about and a song starts playing which you know you’ve definitely heard before, but can’t remember for the life of you what it’s called or who sings it. A simple swipe down to the Control Center and a tap of a button gives you the song title in seconds, and then it directs you to your Spotify Library where you can add your recently-discovered song to a specific playlist.

We’ve reached out to Spotify for a comment, who replied with the following:

"We're always exploring ways to improve our product and deliver more value to users, but we don't comment on speculation around possible new features and don't have anything new to share at this time".