Tender, melodic, and telling a captivating story about the band’s relationship with gentrification, ‘City Is Taken’, showcases a different side of the band, adding a new layer of cohesiveness to the overall album. 

Of the track, Nikki Belfiglio, joint lead vocalist of Bodega, states:

‘City Is Taken’ is a song about my experience of moving to NYC in 2010. I came to view myself and my artistic role models as a force of gentrification caught in the invisible web on profiteering that follows artists wherever they go. My visual presence became an unwitting symbol of destruction; the antithesis of everything I sought to create.

The track arrives paired with its accompanying music video, directed by Luca Balser, that features Ben and Nikki performing the track in a nocturnal New York City, in front of defunct venues from the city’s musical past alongside the commercial banks and chain restaurants most commonly seen today. 

Bodega have recently announced a number of live shows, taking place this Spring, in support of the record Stateside. Already, the band have confirmed a performance at Wide Awake Festival in London, and a series of further dates across the UK and Europe. 

The track follows on from the album’s lead single, ‘Tarkovski’, and is their first release since signing to Chrysalis Records. 

Already becoming a fan favourite, since featuring in the band’s live set on their last UK tour, the single debuted with Steve Lamacq on BBC 6 Music last night, and is the first taster of the album. Speaking on the track, joint lead vocalist, Ben Hozie, states:

‘Tarkovski’ is a pun on the famous Russian director and skiing; I was enamoured by his book “Sculpting in Time” but found that many of his professed rules and guidelines for filmmaking were broken by his own filmmaking practices. Theory never really gets at what you want and applying theory to the chaotic practice of art making (while still useful and essential) is like skiing down a wild slope.

Bodega’s third, and most expansive, album yet is a complete reworking of Ben and Nikki’s old band, Bodega Bay’s, sole release, a thirty-three-track album from 2015, an ambitious release that will broaden their palette further than ever before, with a moreish, cohesive, set of tracks that are both incredibly diverse and anthemic.

Bodega are set to play a hometown show this week at Brooklyn’s TV Eye, and have recently shared several new US dates. In the UK, the band are set to appear at Wide Awake Festival in London, with further dates set to be announced soon. 

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Showcasing a striking contrast to the moody and introspective atmosphere of ‘Roseland’, ‘Unreal’ is imbued with a passionate energy that is refreshing and infectious. Beginning with a burst of feedback, the track’s melody shows a remarkable ambition and clarity, exhibiting the band’s pop sensibility and musicianship. 

Regarding the track, frontman Euan Manning states:

Unreal was written in the back of a Ford Transit van that I happened to be living in at the time. It reminds me of warm days spent on the beaches at home back in Cork. I remember learning a Beach Boys song, taking one of the chords from it, and building a whole new song, this one, around it.

Following on from a filmed performance for Other Voices over in Ireland, and being tipped by Fontaines D.C.’s Grian Chatten, today Cardinals have announced their first UK and Ireland tour, alongside performances at SXSW in Texas, and an appearance at Brighton’s The Great Escape.

Cardinals Tour Dates

March

• 8th-16th SXSW, Austin

May

• 9th Hare & Hounds, Birmingham
• 11th Yes (Basement), Manchester
• 12th McChullis, Glasgow
• 14th The Windmill, London
• 15th The Joiners, Southampton
• 16th The Great Escape, Brighton
• 24th Róisín Dubh, Galway
• 25th Kasbah Social Club, Limerick
• 26th Cyprus Avenue, Cork

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The band explains that the track is a call-out to the UK’s shambles of a government:

‘God’s Country is our long, overdue call-out of the government and rise of the far right. We wrote this a few months back when the political landscape had reached a global boiling point. Great Britain. Think colonial, shit-hole, chunk of land. Thriving off unhinged nationalism, fed to us by the right red hand of unelected prime ministers. Despite this, we dare to call our country ‘Great’. So we ask you, ‘Are you sure?’

They continue, ’We could deep dive into inspirations and influences- but the songs about politics, not us. We hope the song speaks for itself. Rishi, Cameron, Cummings, Starmer – you’re all on our shit list.”

Already the two-piece have made a name for themselves with their unforgettable live performances, and fresh from setting the Moth Club quite literally on fire, they have today announced their biggest headline show to date, taking place at SCALA on June 13th. 

Next month, the band are set to head to the States for the first time, performing at SXSW, and summer will see Lambrini Girls hit Wide Awake, YNot?, 2000 Trees, Reading and Leeds, and Manchester Psych Fest, and more. 

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Acoustic opener, ‘Wobble’ sets a sombre and dreamlike mood, creating a hazy atmosphere that feels captivating and true to Declan’s signature sound. Its lyrics are deeply introspective, exploring the theme of loneliness with poetic finesse, with its reflective tone adding another layer to the track.

Proving that his talent is made for bigger festival slots than the ones he has been dealt, ‘Elevator Hum’ showcases a sound reminiscent of McKenna’s earlier work. Featuring his mellow vocals, this time accompanied by a horn section, it delves into the topic of mental health struggles with honesty and a fun, playful approach. The track’s lyrical content intertwines with the music here, creating a thought-provoking piece that is pleasant, yet doesn’t feel quite as alluring as its Zeros counterparts. 

‘I Write News’ seems to take inspiration from soft-rock anthems of the ’60s, allowing for a softer approach that makes room for more personal, raw, vocals from the solo artist. The lyrical performance here observes the way society consumes media, offering accessible commentary on the current political landscape, before taking a playful jab at constantly increasing prices in London, using a tongue-in-cheek manner to highlight the absurdity of the situation. ‘I Write News’ is a highlight from McKenna’s third outing – holding thoughtful lyrics and catchy melodies that display his distinctive sound and style. 

Penultimate track, ‘It’s An Act’ sees McKenna turn the pace down a notch, allowing him to reflect on his life on the road. The track is written in the third person, from the perspective of an artist who feels the weight of the expectations placed on him to put on a good show for his audience. Commendably mellow and vulnerable, it showcases his ability to convey the internal struggles of the music industry, and as it progresses he acknowledges that the facade he’s putting on is ‘all an act – and in doing so, he exposes the raw, truth of his experiences on the road. 

While What Happened To The Beach? May not necessarily draw in a new audience for Declan McKenna, but it does present a fresh dimension to his musical style, demonstrating his willingness to explore uncharted territory. Though at times the album may seem to follow a somewhat formulaic indie rock formula, and it may not quite measure up to the heights achieved on previous release, Zeros, it is admirable to see McKenna pushing the boundaries of his sound and actively experimenting. In the long run, this creative venture will likely pay off.

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Arriving on the heels of a sold-out winter UK headline tour, ‘DUST OFF / START AGAIN’ is a powerful track, exploring the impact of failed government policies on a generation losing their sense of ownership. It encourages the idea of starting over after a setback, whilst challenging the notion of life as a never-ending cycle of building oneself up and then being knocked back down again. 

Of the single, lead vocalist Joe Hicklin states:

‘DUST OFF / START AGAIN’ is a bolt of cursed vomit, spewed into a stewpot of English class issues regarding housing, ownership, mental illness, appropriation and human rights. It’s about the disregard for the common man. And how it is expected of anyone, regardless of their situation, to carry on, struggle through and go to work.

He continues, ‘It’s about how the privileged and powerful attempt to define, debate and justify the social positions of all whilst the ideals of our governing systems are pressed upon the working-class youth, so that they quietly accept their role as a commodity and place blame on each other, as they wave the flag that keeps them down.”

Post Industrial Hometown Blues is an album set out to offer no answers but is an open, honest expression of being working-class in modern-day England. 

In support of the album, Big Special are set to head out on a huge UK and Europe tour this spring, including performances at The Great Escape Festival in Brighton, and Reading & Leeds Festivals this Summer. 

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The album opens with an orchestral instrumental, evoking feelings of melancholy and longing, setting the tone for what’s to come by creating a haunting and beautiful atmosphere. As it fades out, listeners are thrown headfirst into ‘Burn Alive’ – the high-energy opener of the band’s live shows. The song pays homage to the legendary Joan of Arc, filled with references to her bravery and sacrifice, against a backdrop of dreamy gothic new-wave that feels reminiscent of the iconic Siouxie Sioux – a perfect introduction to the band’s debut, showcasing their unique sound and style.

An album standout is unveiled in ‘Feminine Urge’, a track about female rage – allowing The Last Dinner Party to unashamedly boast about their femininity whilst spearheading what it feels like to not only be a woman in a male-dominated music industry but also what it feels like to be a woman in a male-dominated society. It’s a track that showcases what the band do best, using their music and lyrics to convey powerful messages whilst giving their all to entertain.

Prelude To Ecstasy’s singles, ‘Nothing Matters’, ‘Sinner’, ‘On Your Side’, and ‘Caesar on a TV Screen’ feel right at home within the album, recontextualised and given a new lease of life. Listening to them again, surrounded by the album’s 8 other tracks, it feels similar to viewing a grand painting, every track acting as a separate, intricate detail that contributes to its overall display.

‘Beautiful Boy’ is a gem that strikes a deep emotional chord. Seeing the band take a subdued approach, this time led by the flute, to create an atmosphere both mellow and poignant. As it unfolds, it delves into the privileges that come alongside being a handsome man – a testament to the band’s artistic vision and talents.

The power felt within The Last Dinner Party’s debut album is captured effortlessly by the album’s closer, ‘Mirror’, a wrenching slow-burner that feels like a juxtaposition to the indulgence felt within the album’s singles whilst proving that the five-piece has a fearlessness within them that defies traditional boundaries of genre, offering a fresh, exciting take on modern music. Prelude To Ecstasy is an all-you-can-eat feast, where every track is served on a silver platter.

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With Skinwalker, the four-piece are showcasing a heavier, darker, sound, different to anything they have previously released, whilst still featuring a subtle nod to the ‘70’s references seen in their earlier releases. ‘National Rust’ is just one example of that, and of the indie-funk single, frontman Thomas Rees states,

‘National Rust’ was my attempt at consolidating my 2020 obsession with Sly and the Family Stone with my 2021 obsession with David Bowie’s album ‘Low’. It was the first song that paved the way for the new album, it broke a lot of the sonic boundaries that I was writing within when starting the second album, “I AM NOT AFRAID OF PLAYING FUNKY GUITAR!”, I exclaimed, mu-tron in hand.

Of its lyrics, he continues, ‘Lyrically, it made a statement that informed my songwriting moving forward as well, being a flagrant rejection of my previous political songwriting, and an admission of alienation amongst a plethora of information. ‘National Rust’ acts as a bridge between my younger, more political perspective, and my more recent, more apathetic one.”

In support of the album, Buzzard Buzzard Buzzard are set to head out on a 16-date UK tour in March, before heading out to Europe. 

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‘Gone’ narrates the emotions experienced while ending a collapsing relationship, with a throbbing tempo that intensifies the sense of discomfort. Of the track, the band describe:

‘Gone'” is a song that looks into the vapid nature of brief romantic encounters and the hyperbole that can become so monotonous, it makes you jaded.

The track came to life at the end of a jam session, during a songwriting retreat on the West Coast of Ireland, and of its lyrics, vocalist, guitarist, and bassist, Pamela Connolly adds:

‘Lines like, ‘I was in your top five things to do’ convey a lack of self-worth that’s tackled throughout the album. It’s a song that showcases a vulnerability that allows for no silver linings–it’s the reality of how someone is feeling in the moment.

The album consists of twelve tracks that explore various aspects of the human experience, ranging from grief to happiness and everything in between. These tracks come together to create a collective emotional release, resulting in a newfound inner strength and a deeper understanding of oneself.

Accompanying the announcement the band have also shared that they will be heading out on tour in June, hitting Leeds, Bristol, London, Manchester, Newcastle, and Glasgow, before a huge 4000-capacity show at Dublin’s Iveagh Gardens. 

Pillow Queens 2024 tour dates

• 05 June – Wardrobe, Leeds, UK
• 06 June – The Fleece, Bristol, UK
• 07 June – Brixton Electric, London, UK
• 08 June – YES (Pink Room), Manchester, UK
• 10 June – Cluny, Newcastle, UK
• 11 June – Saint Luke’s, Glasgow, UK
• 13 July – Iveagh Gardens, Dublin, IR

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