Cage The Elephant, known for hits “Cigarette Daydreams”, “Ain’t No Rest for the Wicked”, and “Come a Little Closer” just released their latest single “Dying In Reverse” on September 10th. The track will also be a part of the EA SPORTS FC™ 27 soundtrack, launching globally on September 25th.

After a five year hiatus from 2019 with album Social Cues to 2024 with album Neon Pill, the band is back again with singles “Beaches In Tennessee” followed by “Dying In Reverse”. 

“Dying In Reverse” is layered with a nostalgically hypnotic guitar, chorus, and meditative beat that pulls the listener into a trance-like state. With soft and emotionally charged lyrics the psychedelic track tackles themes of mental health, death, rebirth, and a toxic relationship. 

Vocalist Matthew Shultz, states the single is “essentially about a fresh start or a rebirth of sorts,” with lyrics “Back to the beginning of love”, “Cryin' like a baby, I ain't got no past”, and mantra “I feel like I'm dying in reverse” solidifying this statement. 

One of my favorite lyrics in the song is “Go on and clip my wings / While in mid air”. Often used as a metaphor for captivity, “clipped wings” can also be seen as a reversal of age, since when a baby bird is born, they can not fly yet and are confined to the nest. This lyric pairs greatly along with the phrases “give them wings” and “leaving the nest”. 

Lyrics “I take that ripped parachute and I'm cutting it loose” and “Dive into this ceiling” follow the theme of clipped wings, with the cut parachute being the now clipped wings. This leads him to the crossroads of either removing the dead weight (the toxic relationship) or keeping it on him. When he does cut himself loose and he is falling, he is free diving out of the relationship with lyrics “I finally opened my eyes / I don't need no more proof / I wanna taste your disaster on the tip of my tongue / To the back of my mind / Where the damage was done.” 

Though no longer confined like a caged bird, he still thinks on the relationship with lyrics “Back to the beginning of love” and “There's no difference between us” but knows he should keep moving on with lyrics “Keep my eyes ahead and no I won't look back”.

The metaphors in “Dying In Reverse” are very well done, and after re-listening and re-reading the lyrics, I found they could mean either shedding a relationship with another, or a relationship with one's self. 

“Dying In Reverse” takes a softer approach to Cage The Elephant’s previous discography, marking the start of their latest evolution. Guitarist Brad Shultz states that they always wanted to reinvent Cage The Elephant’s sound. Speaking on “Dying In Reverse” he stated, “We’ve discovered a whole new side to our band, how we look at things, and how we make art. You’re growing constantly as an artist, and I think we’ve tapped into that growth. I do feel like we’re making the best music we’ve ever made. If anything, it’s definitely the most inspired.”

“Dying In Reverse” is a must listen for Indie lovers and die hard Cage The Elephant fans. 

Words by Isabella Basile

With a spirit of joy, freedom and possibility at it’s heart, Ezra Collective prove once again that music is medicine with their album ‘Here Because of Hope’.

A decade since releasing their first EP, Ezra Collective have grown up together. As men, as artists, as people who had a dream for things to change for the better. With their new release, ‘Here Because of Hope’ that dream fuels it all as they share a message of a renewal and salvation that lives on the other side of pain. 

Split into three sections, ‘Here Because of Hope’ is a journey through jazz, geography and time. Interwoven with poetry read by Leticia Wright, Ezra Collective follow the evolution of Black music, tracing its history across the diaspora. Each a landmark, the songs trace the movement of people and histories that have shaped not only Ezra Collective’s work, but more widely contemporary British Black Music as a whole. From its roots in Africa, through to America and the Caribbean all the way to the streets of London where the band call home, the album is a celebration of the culture, tradition, people and resilience that has shaped entire generations of sound. 

The stories begin with ‘Blow Your Trumpet’, slow and steady. With laid back rhythms and a simple melody flanked by piano, the titular trumpet welcomes listeners into a soundscape that is warm, inviting and full of intoxicating charisma. Ife Ogunjobi is nothing short of sublime, personifying the band’s effortless ability to sit right in that perfect pocket of a groove. ‘Sweet Echo’ is exactly as it’s title would suggest with flavours of Afro-Jazz and a bassline by TJ Koleoso that pushes the energy forward and the temperature up. Where ‘Don’t Worry’ is gentle and introspective, ‘Only Love’ is an invitation from Pa Salieu to dance. The first course closes out with ‘Someday’, which with its gorgeous blend of organ, guitar, horns and piano embodies the warm carefree feeling of summer. 

‘Birdie Signs’ is a gearchange as shimmering piano from Joe Armon-Jones is punctuated by a deep, reggae-meets-dubstep type beat. It’s followed by ‘The Last Stand’ where you are transported to the dark of night by orchestration that would be right at home in the depths of a smoky dancefloor. Lila Ike, the second feature thus far, joins the party on ‘Well Organised’. A tribute to Jamaica and her longstanding ability to heal with melody, steel pan melodies and Ike’s silky smooth tone stand out proud. A love letter to Latin America, ‘El Corazon’ truly is the heart of the record, with percussion performances by band leader Femi Koleoso worthy of a fiesta. Once again, the trumpet line is front and center for ‘Bunny on The Rise’, an injection of pure jazz chaos that can’t help but leave you smiling. 

Leona Lewis is well and truly swoon-worthy on ‘All I Need’. ‘Jubille Feeling’ is lightning in a bottle levels of special. With an accompanying London-shot video directed by Ebenezer Blanche, it combines the band’s jazz foundations with the dancefloor momentum of London club culture. Taking inspiration from the name of the church he grew up at and the meaning of the word itself (a year when everyone’s debts are settled and prisoners are set free), it paints a picture of the euphoric joy of wanting nothing more than to dance along with the music. ‘Black Flag’ is a window into the intimate, more subdued moments that come at the end of a night out once the club has closed. James Mollison’s sax line against synths and percussion is dreamily rich, soaring over echoey orchestration. Things close out with ‘Most High’, where accompanied by Libianca, Ezra Collective give thanks to all that has shaped who they are. 

Whilst critical acclaim is nothing new for the band, this album shapes up to be their best yet. ‘Here Because of Hope’ as a body of work will resonate with everyone, creating a sense of community against a world of division and disconnection from one another. It is a reminder that we need to cherish and celebrate everything that has built us into the people we have become; the stories, the culture, the roots laid by the people that came before. In spite of pain, in spite of struggle, in spite of all that is thrown at us, there has to be joy. Hope is the thing that gets us through. Hope is what makes the joy feel possible. 

Words by Kirsty-Ann Thomson

There’s always going to be the weight of expectation hovering over a band if they shot for the stars with a stone-cold classic album at any point in their career; the fact remains that Bloc Party have not been that band in the most literal sense for a decade. They never got a real chance to pick themselves up and start again until now. 2016’s HYMNS? Frequently beautiful and dazzling, it was still written by Kele Okereke and Russell Lissack on their own. 2022’s Alpha Games? Much delayed by the pandemic, it shared plenty of DNA with Silent Alarm, making a splash but not quite sticking the landing, owing to the fact the band ended up on their third new bass player in eight years shortly thereafter. Given how famously tight the band’s original incarnation was, one wondered if they’d find stability again. Thankfully, they have.

Anatomy of a Brief Romance is literal in its approach, a post-mortem of a year-long relationship that vocalist and guitarist Okereke was ill-prepared for in both its dizzying highs and shattering lows, after separating from the father of his children. Most brutal of all is that he knows this new love is doomed, with the synth-heavy opener ‘22.01.22’ accepting this as a fait accompli: “You are every kind-eyed man I cannot make stay ,,, I wonder what I’ll have learned by the time you walk away.” He’s along for the ride; he just doesn’t expect to be taken for one instead. We’ve seen glimpses of this before (on the brilliantly inventive 2008 surprise drop Intimacy), but this is full concept album territory, folks; with the full band behind it, this unvarnished look at love and loss helps them find their footing again.

Harry Deacon takes up that vacant bassist post, announcing himself by locking in with powerhouse drummer Louise Bartle for an uneasy look at blossoming affection on ‘Coming On Strong’. Okereke’s new man is intense, taking creepshots of him from across the gym floor, and neither of them are afraid to let things get messy, in declarations of devotion (as on ‘Love Bombs’) and otherwise, He can be forgiven a goofy lyric or two, as on ‘Pigwig’, because the impact is everything, and new love can inspire people in all sorts of ways. It’s proven divisive but benefits hugely from album context, the way it soars for the payoff (“That was the moment I knew that I’d been… fooooo-oooound”) is irresistible. He’s stepped back into his own shoes as a lyricist, in a manner of speaking, not to mention the sound of this band in full flight is still something to behold.

‘Lagoon Blue’ gets a title change and re-record from 2023’s comparatively obscure High Life EP, and enters the pantheon of Bloc Party all-timers, recontextualised as the seed from which this album sprouted. A shimmering ode to the intoxicating highs of love and life, it makes the plunge into suspicion and heartbreak all the more punishing. The new lover can’t let the past go on grade-A pop banger ‘Muscleworks’ (replete with lead guitarist Lissack stealing the show at the song’s climax, right before a deft key change), while worries about double lives and shocking exposition on ‘Clark Kent’ tee up an absolute shitstorm on ‘Worst Birthday Ever’; meeting the parents and being completely shut down by his new flame’s ‘pig’ of a dad, expected and unaverted. “Your dad got his wish - his gay son’s no longer in love!” Okereke spits, dramatic tension boiling over and resulting in a spectacular crashout on the hook-heavy ‘Not Your Problem’ as he laments a ‘stolen’ year.

This ‘brief romance’ has come crashing down, hitting like a freight train on ‘Now We Can’t Be Friends’, which dives headfirst into the ‘disco heartbreak’ template that inspired the album, going back to the well that inspired 2009 loosie ‘One More Chance’ with a completely flipped lyrical outlook. There are no more chances, with both parties left to pick up the pieces, as ‘Rotherhithe’ unfolds with devastating clarity, another excellent ballad that serves as the other side of the coin flipped on ‘Lagoon Blue’. The good and bad days are both ‘the breaks’, as Okereke admits he’s scorched the earth: “The only picture I kept was the one of you walking away.” It pairs well with ‘Stories’, as both men examine their actions and look to begin new chapters, a hyperactive guitar burst from Lissack adding splashes of colour into an otherwise ruminative song that begins to lift the veil of heartache.

Bitterness and yearning finally give way to acceptance on closing duo ‘Moving On’ and ‘Eulogy’, each acting as a direct mirror to ‘22.01.22’ and ‘Coming On Strong’ in a neat full-circle moment; the intensity of newfound love gives way to ‘taking a lover in the afternoon’, and the album ends on a note of closure, as Okereke gives his ex an emotional send-off. Anatomy of a Brief Romance adds plenty of new textures and tricks to Bloc Party’s arsenal; it’s diaristic in the extreme, and you have to sign up for that to enjoy the record to its fullest extent, but whether lovestruck or forlorn, seething or healing, the conceptual framework constructed back in 2023 has resulted in the their most focused set of songs in quite some time, with highs that can go to the mat with their best work, a multi-layered collection that scales the renewed quartet’s ambition back up, setting the stage for a band who have finally regained their footing. This party’s far from over.

Words by Gareth O’Malley

Lifted from his forthcoming studio album, Airplane Mode, James Blunt returns with his latest single ‘Weight Of It All’.

There has always been more steel in James Blunt’s songwriting than his reputation as Britain’s favourite self-deprecating Twitter uncle might suggest. Beneath the jokes, the memes and the knowingly sentimental image, Blunt has spent much of his career returning to the same uncomfortable territory: the moments when emotional composure begins to fracture. “Weight Of It All”, the latest preview from his forthcoming eighth studio album Airplane Mode, finds him once again standing at that fault line, delivering a song about modern pressure with the disarming directness that remains his greatest strength.

The track is built around restraint. At first, there is considerable space around Blunt’s weathered tenor, allowing the grain and slight instability in his voice to become part of the arrangement. His vocal has acquired mileage over the years, and that mileage matters. He no longer sounds like a young songwriter discovering heartbreak in real time. Instead, there is the impression of someone who has accumulated enough experience to understand that emotional exhaustion rarely arrives with a dramatic soundtrack. Sometimes it simply settles in.

Piano and acoustic textures gradually widen the song’s emotional frame, while percussion and polished production steer it towards the familiar modern-ballad crescendo. It is a well judged progression, moving from intimate confession towards something designed for a larger room, perhaps eventually a festival field with thousands of voices joining in. Yet this is also where the production becomes slightly too conscious of its own emotional mechanics. Blunt’s conversational delivery is already doing much of the heavy lifting, and there are moments when the glossy sonic architecture feels as though it is explaining feelings the singer has communicated perfectly well himself.

“Weight Of It All” takes its title seriously. The burden at its centre is deliberately broad, encompassing relationships, ageing, responsibility, grief and the relentless expectation that modern life should somehow remain manageable. Blunt captures that particular exhaustion of continuing to function while quietly wondering how much more can be carried. There is commercial intelligence in that universality. Almost anyone can locate their own burden within the song.

The trade-off is that some of the writing lacks the sharply observed details that have occasionally made Blunt’s strongest material so effective. His best songs often find enormous emotion in something mundane, an object, a gesture, a conversation that goes slightly wrong. Here, the emotional language is more expansive and familiar. The sentiment lands, but the imagery does not always leave the same distinctive bruise.

Even so, there is something quietly admirable about Blunt refusing to disguise vulnerability behind fashionable production tricks or contemporary pop affectations. “Weight Of It All” does not need a dancefloor detour or a deliberately ironic hook. It is fundamentally a song about admitting that life can become heavy, and about finding the courage to say so without embarrassment.

Most importantly, Blunt understands the difference between singing loudly and singing with conviction. The climax is controlled rather than bombastic, allowing the voice to carry the emotional peak without turning it into melodrama. The closing moments are similarly effective because they resist the temptation to manufacture a neat resolution. The weight remains.

“Weight Of It All” may not reinvent James Blunt, nor does it need to. Instead, it refines the qualities that have kept his songwriting relevant: plain-spoken confession, melodic instinct and a voice that sounds increasingly convincing because it has lived a little. In an era often suspicious of earnestness, Blunt remains willing to take sincerity seriously. That may be unfashionable, but here, it is also his most compelling strength.

Words by Danielle Holian

Molly And The Dolly Shop have just released her powerful new single 'Move Inside'.

Molly And The Dolly Shop is the creative world of singer, songwriter and artist Molly Burman. The Dolly Shop is an open invitation into the communities Molly has built around her music - from her bandmates and fans to her online audience and the queer community she’s part of. At the heart of Molly's songwriting is radical honesty and her music embraces the full spectrum of human emotion, creating space for vulnerability and connection. Through deeply relatable storytelling, she invites listeners to find comfort in knowing they're not alone.

As a member of the Loud LDN collective alongside artists including Piri, venbee and SOFY, Molly is committed to championing greater inclusivity across the music industry. She is also an outspoken advocate for LGBTQ+ rights, mental health awareness and feminism, using both her platform and her art to spark meaningful conversations.

Molly took a moment to talk to us about the inspirations behind her music.

Who are your top three musical inspirations and why?
Firstly ABBA, I’m so obsessed with their harmonies and the overall fun in their music. I’ve worked in an ABBA tribute act before, which means I’ve really studied their songs and they’re just so complex and well thought out. They’re one of the only acts I could listen to over and over, not to mention their amazing style.
Second has to be Bowie. I grew up listening to him on road trips, my mum is a massive fan. His music is so weird and wonderful and explores so many different genres, which I love. I hate the thought of having to sound like one thing and not being able to play around, I really think Bowie embodied exploration.
And finally I have to say my Dad. He played as a bassist in a punk band when he was 19, he’s now a guitar teacher and writes these amazing children’s songs about animals and the environment. He’s so talented and is the main reason I got into music, he really supported me and first introduced me to the process of producing a song. Without him I probably wouldn’t be doing music, so I guess he’s actually inspiration number one.

Is there a certain film that inspires you and why? 
Sing Street! That’s one of my favourite films ever. There’s a particular line when they’re shooting a music video and Raphina jumps straight into the water. She says something like “it’s for your art, you can never do anything by half” and I ALWAYS think about that whenever I perform, film music videos or write. It’s also the most fun, heartbreaking/heartwarming film and the songs and fashion are iconic.

What city do you find the most inspiring and why? 
Probably London. It’s where I’ve lived my whole life. It’s so full of ideas and creativity and also lots of competition, which I think helps. It’s humbling being from London, never being a big fish in a small pond, knowing from a young age that round every corner are hundreds of people just as talented as you, but weirdly it inspires me to push myself and focus on what I’m doing. I also find Cork really inspiring! It’s where my family is from, it’s so full of live music, whether it’s original acts, trad bands or ska tributes! I always feel so at one with music and really grateful for it when I’m there.

Who is the most inspiring person to you and why? 
I guess I kind of touched on this but it’s my parents and also my Grandad and all my musical family and friends (sorry that’s a lot more than 1). My grandad grew up very working class, from a family of market traders. He first got into piano during the war, playing the boogie woogie with American soldiers. He then got a music scholarship and made a life for himself as a Jazz musician. That love for music was passed on through my Dad. My mum is also very musical and performed in a comedy, acapella trio. I’m surrounded by so much music and my whole family circle is connected by music. I’m so inspired by them all, and want my life to be the same. It showed me how music opens so many doors, it brings so many friendships and so much joy!

What were your inspirations when writing your new track? 
Pretty much just pure emotion. I’ve carried my trauma for so long and I wanted to put it into a song and really understand how I felt. I guess I was inspired by my pain and the pain of all the women in my life who related. I didn’t feel that there was a song out there that really said how we were all feeling. So I wanted to do it!

How would you like to inspire people?
I suppose I’d just like to inspire people to feel their feelings. To stand up against bad people and stand with people who need support. I mainly want people to feel safe and know that how they feel is valid and they aren’t alone.

Destined to be on every ‘For You’ page, Natalie Imbruglia triumphs with new album ‘Algorithm’.

Five years on from her last release, Natalie Imbruglia is back and better than ever with ‘Algorithm’. Returning as an independent artist, this is Imbruglia at her most personal, honest and determined. This new era sees Natalie step into shimmery synth-pop technicolor, embracing genres we haven’t heard from her before. The individuality and charm that we all fell in love with way back when she first released ‘Torn’ underpins the whole thing and it’s clear that she is well and truly where she belongs. 

Introspective, honest and with a sincere vulnerability, Imbruglia is all too aware of the pressures to deliver with this record. Seeking to define this new era as one of empowerment, freedom and creative fulfillment, many of the tracks on the album explore complicated feelings and themes. In her own words, she explained:

‘For this album I knew that I would have to share my deepest feelings which was hard - but it freed up the mood, allowing us to all connect on a different level. This connection is reflected in the songs, which I believe makes them better.’

The sentiment she talks about comes through clearest on lead single ‘Upside Down’. Written about trying to find the ‘up-sides’ whilst feeling down, it speaks to the album’s wider tone of hopefulness for the future. Imbruglia has been incredibly candid about the fact that whilst there has been a lot of joy and community that has come out of creating this album, it has also been a period of her mental health being the worst it has been. She describes the ability of taking something so dark and painful and turning it into light as the ‘beauty of music and artistic creation’. With flourishing synths, bright and energetic percussion and her signature lilting vocals, the track celebrates the relinquishing of control and finding clarity in self-acceptance. 

Title track ‘Algorithm’ is a particularly fun listen, opening with experimental sirens and synths reminiscent of Eurythemics and Depeche Mode. The 80s electropop feel lends itself well to the subject at hand as Imbruglia unpacks her own struggles with social media addiction and the dangers of living in a digital age where social media puts such immense pressure on people to appear a certain way. An instant standout, it pushes her songwriting and production abilities to new heights with its layering of spoken word interludes, percussion and vocal harmonies. Each work to create a sound that whilst still very distinctly ‘Imbruglia’, accurately captures the heightened and often distorted sense of reality that the internet projects. 

The joy of being an independent artist gives Imbruglia the space to play and explore with genre. A great deal of the record operates in the shimmery synth pop world but there are moments where she gets to experiment with her sound, tapping into trance inspired elements on ‘Breathe With the Fire Lola’ and more alternative orchestration on ‘Jesus on Mars’. Imbruglia makes it clear that she needs not rely on nostalgia and even after 6 albums, she is constantly working to continue to develop her craft. 

During a period where the tides of pop culture seem to be moving back towards the lights of the dance floor, ‘Algorithm’ could not be timed better. A community affair, it features a heavy hitting line-up of collaborators. Imbruglia who co-wrote the project in full is joined by a series of incredible creatives including David Sneddon, Fraser T Smith, Gary Lightbody, Tim Bran, Roy Kerr, Mark Crew, MyRiot and Anu Pillai. For Imbruglia, her independent label, and all those who have helped her get to where she is, the album ultimately is bold, emotionally charged and sonically alive. Both current, in communication with genres and styles from her youth, and totally distinctive, its a powerful declaration from an artist who is wholly in command of her voice. 

Words by Kirsty-Ann Thomson

Seeking to understand what it is to be human, Paris Paloma releases sophomore album ‘The Fatal Flaw’.

Love, loss, and becoming. The three parts to many an epic tale. Paris Paloma seeks to encompass them all on her new album, ‘The Fatal Flaw.’ Having gone introspective and letting listeners into her inner workings on debut ‘Cacophany’, she turns things entirely on their head with this release. Where it was an inhale, this is the exhale. A post mortem of grand proportions, Paloma dissects her emotions, her inspirations, the things that scare her all in the hope of finding the core of what makes real art so important. Anthemic, defiant and with searing commentary on what it means to be not only an artist but a human, this fatal flaw looks to be the making of Paris Paloma. 

Paloma begins things simply with ‘I have something to say’ on opening track ‘Miyazaki’. A manifesto seeking to explain all she intends to change, it firmly establishes the sense of empowerment and determination that drips from the album. The resistance here is against the alarming rate at which artificial intelligence encroaches creative spaces. Expanding on all she wants to say, she explains

‘I wrote this song about art, about the burning, urgent desire to create art as my way of making sense of the world, and as my way of resisting darkness and hatred. It’s a defiant song, about defending the human need of artistic creation in a world that is increasingly devaluing it in the face of AI’

The title comes from Hayao Miyazaki, known not just for Studio Ghibli but also his shared stance on the AI plague on the arts, calling it an ‘insult to life itself’. With a mixture of urgency, passion and sheer love for the act of creating, Paloma starts as she means to continue - a call to arms. 

Miyazaki gives way to ‘Rothko’ with whom Paris begins to delve deeper into the threads of the ‘The Fatal Flaw’. Here she lays bare her fear of not ‘falling in love in this lifetime’. To be so vulnerable and exposed from so early on in the album is bold but works to invite listeners to look inwards at their own existential fears. Over gentle guitar strums and swirling harmony, Paloma muses on her frustrations at her feelings - the ones she has, the ones she feels forced to hide, and the ones she wished she could conjure up. Using Rothko and his artwork as a point of reference, she explains her anger at wanting to feel the ‘right’ things and her sadness of only getting close by feeling them from the sidelines. Rothko’s paintings are known for their reputation of being deeply evocative; Paris doesn’t understand how she can stand and stare at one endlessly and find nothing. It plants the seed that ultimately blooms in the final track of the album, ‘I Cry at Paintings’.

‘Stem The Flow’ and ‘The Bleeding Part of Me’ work seamlessly in conveying something that has gone beyond control. Blood is an image Paloma has been unafraid to use in her work and this isn’t even it’s first appearance on the album. In a previous lyric, she explains it quite succinctly:

‘I find myself bleeding and it seems that its never even for the right reasons.’

Her ability to create, her desire to feel, a love that she cannot contain - the blood is a metaphor for everything and anything. There’s a violence and aggression to it that translates into the music; blooming strings, drums that sound like a heartbeat, choral incantations and of course Paloma’s tone which has a fragility to it that constantly seems pushed to the point of shattering. The anthemic bridge section on ‘Stem The Flow’ is particularly staggering, something which will only grow once tour begins and audiences can join in.

Often Paloma’s works read almost as a kind of literary criticism, never more so than on this record. There’s something about an artist who is so obviously passionate about art and its palpable on ‘The Fatal Flaw’ through the myriad of references and allusions sprinkled throughout. Some are overt, take Miyazaki, Rothko and Tartt from whom the title potentially is inspired. Paris is actively engaging with contemporaries and those who inspire her. With repeat listens though, you begin to notice others, all in communication with eachother. Ithell Colquhoun's Diagrams of Love. J.W. Turner and his seascapes. Bell Hooks’ intersectional feminism. The pre-raphaelites and their romanticism. It’s a shame the album doesn’t come with a bibliography or a  recommended reading list.

As well as being in conversation with art itself, Paris Paloma is in a kind of conversation with herself on tracks ‘Good Boy’ and ‘Good Girl’. Determined to interrogate the world around her and all its insidiousness, these two work in tandem with one another to examine hugely complex and nuanced subject matter like the commodification of female bodies, patriarchy’s intertwinement with capitalism and the conflict of trying to create solidarity in a world built upon division and hate. These two are songs borne from anger, hope, and the way we need to use both to incite change. 

A personal favourite has to be ‘get her the fucking flowers’. In terms of production, it is one of the more stripped back tracks on the album and really gives space for Paris Paloma’s abilities as a vocalist and songwriter to come to the fore. Abandoning the more visceral elements from other tracks, her power here is rooted in her honesty and vulnerability. It’s rare to find a track where an artist gives so much of their self away without expecting anything in return and this is one of those. To hear this one live will be truly spellbinding. 

For Paris Paloma, the ‘The Fatal Flaw’ is rooted in what it means to be human. The entanglement of the primal, the intellectual, the emotional and the irrational, all of which fighting out to best inform who we choose to be. Paloma decides to reclaim them all, traversing through life and love and creating art in all its contradictions, determined to reckon with the beauty and the failures along the way. She calls for her listeners to be unafraid, to feel things deeply and to revel in all of the things that don’t line up perfectly. To create art is to be human and to be human is to be flawed. That is the true message. 

Paris Paloma heads on tour from the end of September all through to December. Additionally, the Europe leg of the tour is in partnership with women and girl’s rights organisation ‘Plan International UK’ whom Paloma champions for their work to end period poverty, eradicate child marriage, and work towards keeping girls in education.

Words by Kirsty-Ann Thomson

Brightshade explores the trauma within with their latest single “Inner Void”.

New UK Cine/Nu/Alt Metal band Brightshade just released their fourth single, “Inner Void” on August 28th, 2026 via UK label Year Of The Rat Records.

The band launched in 2026, with their first EP, Believe, released on July 10th followed by single “Lost and Haunted”, released on April 10th. Now, they release their fourth single “Inner Void” which explores trauma, pain, and loss, and how we cope with it. 

The band states on Bandcamp that they are “building a world here, making music for us, and for the angry, the confused, and the forgotten.” Their lyrics are real, the instruments have meaning, and their melodic hooks invite fans to do more than just listen, they experience the angst of Brightshade. 

“Inner Void” starts with lyrics “I’ve seen it, I’ve seen it all / You’re the night that’s crawling to me” in a far off echo. A drum solo then pulls the band into a heavier sound with Vocalist Dan Hill repeating the lyrics with a louder rasped tension. His voice is dark, yet he sings in a higher vocal range as he calls out for help with lyrics “I’ve seen it all” and “I forgot how to heal”.

Hill shared ““Inner Void” explores the trauma we face and the relationship we have with it. Pain and loss teaches us life lessons, helps us grow and hardens our skin. It’s about frustrations and trying to find meaning to pain or a silver lining, but nothing is there. We all share experiences that leave us damaged, with no positive outcome. After the loss of a family member, hoping for these experiences to make me a better person, but I am ultimately confronted with the reality that pain doesn't always make us stronger.” 

Throughout the song, the lead guitar plays high pitched notes, aiding to Hill’s pleading and the haunting feel to the song. The two fit perfectly together, almost as if they are one, creating a perfect cry for help, especially with the last wail of the guitar. 

The music video consists of Brightshade playing their instruments with a purple haze overtone, a darkness achieved by the use of a vignette, pairing up perfectly with lyrics “you’re the night that’s crawling to me”, and light streaks that could be seen as sparks of hope.

“Inner Void” is a must listen if you have ever felt lost and alone. 

Words by Isabella Basile

Celebrating its fifth anniversary, a showery edition of FORWARDS Festival was anchored by global R&B icon Tems, soulful rap titan Little Simz, and the epic theatrics of Self Esteem. 

For those unfamiliar with FORWARDS Festival in Bristol, the South West's biggest bank holiday weekender has become known as a unique alternative event that champions social impact, sustainability, and political engagement. With stages powered by green hydrogen and informational tents focused on educating people about local and global issues in live forums, it’s a far cry from the maximalist consumerism that propels the biggest events in the UK.  

Saturday proved to be brighter than anticipated - and not just because of the unexpected sunny spells - as the magic of Maribou State enchanted crowds with ambient electro bliss. Guest vocalist Talulah Ruby prowled the stage in a blue sequined shawl, resembling Little Red Riding Hood if she'd lost half her robe rushing to make her debut FORWARDS appearance. The duo’s twitchy live percussion bridged the gap between homespun DJing and organic instrumentation, best shown on 'Nervous Tics', which spurred fans to dance whimsically. Following their recent announcement of an upcoming hiatus, favourites like 'Midas' and 'Steal' served as a lasting reminder of why they remain the ultimate golden-hour festival band. 

Ushering the audience back to the West Stage, Joy Crookes broke through the clouds with her warm neo-soul ballads. Many know her from the sweeping romance of 'Feet Don't Fail Me Now', which shot to prominence after featuring on the FIFA soundtrack, but there is far more on offer beyond her most popular track. The two-step haze of new, unreleased track 'Chop Chop Honey' weaved her saccharine vocals into rich basslines, giving us an exclusive glimpse into her upcoming record Juniper. "I've had a wonderful time, I hope you have too!" she beamed before flouncing into 'When You Were Mine'. A slice of earthy Motown with blaring brass and a Brixton shimmer, it was an irresistible high point of the day. 

When the time arrived to preach at the church of Self Esteem, she appeared surrounded by disciples in dystopian nun costumes reminiscent of The Handmaid's Tale. A spoken-word interlude dramatically introduced ‘I Do and I Don’t Care’ as she shakily sang, “If I’m so empowered, why am I such a coward?” Soon, it became clear the biblical outfits were an elaborate ruse when she bluntly announced, "This song is about the 69 sex position being shit," before flashing sex positions across the screen in bold red letters. Ditching the nun robes for black sportswear, the ensemble launched into the star jumps and routines that prop up the physical empowerment of ‘Prioritise Pleasure’. 

Her distinct theatrical flair transformed songs into epic behemoths emblazoned with compelling statements. '69' touted the self-explanatory affirmation that "Consent serves both of us!", while 'I'm Fine' commented on the underlying threat of violence women face daily. Yet as serious as the subject matter got, she effortlessly blended in tongue-in-cheek humour to lighten the mood. During ‘Logic, Bitch!’ she used a banana as a telephone while singing about letting go of a relationship, and she cleverly flipped self-worth anthem ‘Cheers to Me’ into an impassioned plea for fans to learn a TikTok dance so she could buy Janet and Andy a caravan. Exiting via a conga line alongside her backup dancers to Shirley Bassey's ‘This Is My Life’, the Rotherham singer made an ironclad case for future headliner status. 

Cool indifference is the Wet Leg mantra, and it served them exceptionally well. The nonsensical ‘catch these fists’ was fuelled by bratty rage and a strobe-lit smokescreen. The post-punk duo avoided small talk, letting their relentless rock numbers do the talking. The knowing wink of ‘Wet Dream’ had thousands singing "touching yourself, touching yourself" ahead of the chorus. Expressionless delivery is tough to pull off, but ‘Chaise Longue’ proved to be the rare exception, complete with a Mean Girls reference and audience chants of "Excuse me… WHAT?" before the guitar kicked in. 

At the peak of Saturday's bill, global R&B star Tems stood as an unbothered queen in her prime. Shunning the hyperactive tropes of typical headliners, her regal performance was unhurried as she flipped between intimate downtempo ballads and high-octane Afrobeat anthems. The loudest collective gasp was saved for ‘Love Me Jeje’, which prompted the biggest sing-along of the night. The sun-drenched textures of ‘Me & U’ made for a striking contrast under the waning moonlight, a soul slow burner that hooked the audience in.

Ever the wholesome diva, she set time aside for crowd interaction at the front row. Stepping into the pit, she dedicated an improvised tune to fans Maleeka and Malani, complimenting their beauty. Later, she darted up and down the barrier searching for someone to help her sing ‘Found’. Once the Nigerian vocalist located someone who knew the words to serenade her, she marched back onto the stage, teasingly remarking, “Y’all don’t know my song!” The serene majesty of ‘Free Mind’ closed out the show—a gospel crescendo that captivated 30,000 people. As a vocal powerhouse exuding an unpretentious warmth, Tems was perhaps the most delightfully human headliner yet. 

Ethereal hyperpop set the mood for Sunday, with a hazy start from Oklou. From flute jams to wobbly basslines, her stark variety of organic textures peppered an intriguing set that served only to elevate her mysterious aura. Using a lighting rig as a swing during 'Take Me by the Hand', dreamy minimalism took hold. In 'harvest sky', floaty melancholia was undercut by subtle Eurodance euphoria, entrancing the afternoon masses. 

Although Princess Nokia started with technical difficulties, she regained poise for an abrasive and exciting show. Cinema visuals made direct references throughout: 'Drop Dead Gorgeous' displayed the Megan Fox cult film Jennifer’s Body, while a Mean Girls montage accompanied 'I Like Him'. On form with her baddie image, 'Gossip Girl' incited chants of "she's so damn bitchy and trashy", keeping in with the Y2K TV and movie pop culture aesthetic. 

Scuzzy punk six-piece Viagra Boys steered the audience through their religious odyssey on the East Stage, where the gospel preaches paranoia, cheap beer, and a burning hatred of toxic masculinity. No common male archetype is safe; 'Sports' dispassionately listed cigarettes, basketball, and short shorts as things men cling to, while 'Punk Rock Loser' took aim at emotionally unavailable indie music snobs. Surprise guest Amy Taylor joined for their collaboration 'In Spite of Ourselves', a welcome addition ahead of her slot later in the day. 

Sporting a red sequin bikini and scarlet hotpants, Amy Taylor's arrival was heralded by boundless energy as she leapt across the stage. In an age where festival slots can favour endless rehearsing and laser-like precision, Amyl & the Sniffers are the unvarnished antidote. Australian pub-rock blown up on the silver screen reigned supreme, winning everyone over easily with ‘U Should Not Be Doing That’ and ‘Doing in My Head’. 

"This one’s for my ladies!" she trilled before firing into ‘Me and the Girls’. As its feminist manifesto calling for free abortions and getting drunk at the airport unfurled, cheers indicated FORWARDS Festival was fully on board. Taylor treated the live show like a HIIT class, constantly lapping the mic and jumping in the air. Increasingly rowdy and winsomely primal, the Melbourne rockers remain one of the most exciting bands to watch on the live circuit. 

After three days of exceptional closing acts, nobody has deserved the dizzying rise to headliner status more than Little Simz. A true force of nature driven by evocative lyricism and vivid storytelling, early highlight ‘Thief’ straddles Bond-theme bass grooves with crashing cymbals to hammer home a devastating betrayal by a business partner. “I is that girl, I am an electric black girl,” she rapped in ‘Enough’, aided by kitchen-sink percussion and 70s-funk rhythms. 

Confidence is something that seems to come naturally to the North London rapper, whether she is singing or interacting with the crowd. Dedicated to the ladies, she stepped down to the front row, spending the majority of ‘Woman’ greeting her female fans across the barrier. Another fond address was reserved for her critics on the blistering ‘Young’, delivering tongue-in-cheek flexes on her rapid rise with lines like “I might be overseas” and “I speak a lot of French”, prompting a loud shout of “OUI OUI OUI!” from the crowd. 

"You’re amazing Forwards Fest, we are amazing!" she shouted triumphantly mid-song. Her community spirit isn’t just apparent in how she interacts with fans, but in her homage to growing up in Islington, ‘101 FM’. The track paints a rich tapestry of her youth, backed by visuals of local shop Little Simzi’s and a slow vertical pan up council flats flying world flags. Yet beneath memories of playing PS2 and listening to Dizzee Rascal, there lies a longing for success beyond her borough. Tonight proved that dream is a reality earned in spades - with a victorious sign-off of ‘Gorilla’ cementing Little Simz as a generational talent who has redefined UK hip-hop. 

If FORWARDS Festival 2026 taught us anything across its 5th anniversary weekend, it's that the future of festival headliners belongs to uncompromising women. From Self Esteem’s empowering theatre and Amy Taylor’s physical, HIIT-class punk energy to Tems’ regal, barrier-stepping warmth and Little Simz’s electric, victory-lap headline authority, the lineup was defined by artists who refuse to dilute their vision. Unfiltered, politically engaged, and undeniably triumphant, FORWARDS gave the 2026 festival season the glorious sign-off it deserved.

Words by Oliver Evans

Two nights, one Tyler, the Creator, and a summer’s worth of surprises.

East London belonged to Tyler, the Creator this bank holiday weekend. Two nights, one headliner, and a genuine first for the festival, no artist had ever closed two nights of All Points East in the same year before. Victoria Park had already hosted Jorja Smith, Tems and Lorde this summer, but nothing matched the scale of what came next.

FRIDAY

The trip in from Barking made for an easier one than last time, and getting through the gates was smooth, arriving just in time for AG Club. Filling the East Stage early doors is never an easy task, but they more than delivered, mosh pits forming despite the rain, breakout 2020 viral hit ‘Memphis’ still landing as hard as ever, and a brilliant sample of Deniece Williams’ 1976 cut ‘Free’ proving fifty year old music still has plenty to say to a festival crowd fifty years on. Over on the North Arena, Love Spellsbrought a more intimate energy, a live band amplifying songs from Love Is the Law, a gorgeous, stripped back shoegaze rendition of ‘Kiss Me Slow This Time’ the highlight of a set that suggested he’s built for far bigger stages than this one.

Vince Staples was one of the most anticipated sets of the day and delivered, an aggressive ‘Blackberry Marmalade’ opener giving way to a full live band and a genuinely rebellious energy that ran well past his allotted thirty minutes, funny as ever between songs; ‘TV Guide’ bringing some of the best crowd participation of the day. Ravyn Lenae turned in one of the standout sets of the afternoon, working through newer material from Blue Island in a silver dress under a punishing sun, taking the crowd on a Chicago detour before ‘Saturday Night’ and ‘Love Me Not’ landed as two of the best individual performances of the day. Yebba brought a captivating set built on ‘Distance’ and ‘Yebba’s Heartbreak’, the latter genuinely transcendent. Fakemink, despite being thirty minutes late, won hearts with an unexpected singalong, a remix of Cyndi Lauper’s ‘Time After Time’ that had the whole tent thinking of an ex that got away. BB Trickz stole the best stage energy of the day on the smaller X Stage, a flirtatious set with frenetic dancing from her friends accompanying her. She brought the party from Spain las Mariah the Scientist delivered a captivating set over on East Stage with her 2025 album Hearts Sold Separately, throwing her hat into the crowd three songs in.

Clipse brought the biggest crowd of the day for the Thornton brothers’ reunion, sixteen years since their last album together. A DJ warmed things up before Pusha T and Malice walked out into cuts from Let God Sort Em Out, ‘Chains & Whips’ and ‘P.O.V.’ among them, before an emotional ‘The Birds Don’t Sing’, family photos playing on screen behind them, and a braggadocious ‘m.t.b.t.t.f.’ rounding out one of the most complete sets of the whole weekend. Rochelle Jordan brought the most dance heavy set of the day to the X Stage, before Rex Orange County opened with ‘Apricot Princess’ and ‘So Far/So Good’ to a raucous reception, all culminating in the moment he brought Rayvn Lenae out for a remix of her hit ‘Love Me Not’. Turnstile turned in the most dramatic set of the day, walking out to Dolly Partonand Kenny Rogers’ ‘Islands in the Stream’ before the rain only added to the drama of a set following Never Enough, Brendan Yates calling London a second home for the band, closing on a haunting cover of The Stone Roses’ ‘I Wanna Be Adored’.

Tyler, the Creator closed out day one on a stage built as a fictional Victoria Park tube station, a full scale train carriage and pyrotechnics greeting an expectedly huge East Stage crowd. He opened with ‘Big Poe’ before powering through ‘She’ and ‘Are We Still Friends?’, pausing to joke it had been “a year since I hung out with you motherf*ckers.” A runway parting the crowd gave high energy renditions of ‘Noid’ and ‘Darling, I’, before he spoke about his early days signed to XL Recordings and being label mates with Adele. ‘Earfquake’ brought the whole crowd into one last singalong, before an engrossing New Magic Wand’ performance closed a genuinely wonderful first night.

SATURDAY

The rain tried its best again to dampen the festival spirit, especially when mixed with tube travel issues. It meant sadly missing Quadeca and PARTYOFTWO, though Danny Brown’s ‘Psychoboost’ set the tone perfectly walking in for day two. MIKE’s North Arena set made the small stage feel enormous, great to catch even in passing. Syd followed with another intimate main stage moment, a delicate performer whose words land far heavier than her soft delivery suggests, closing with the Disclosure track ‘Birthday’, which she features on.

Denzel Curry & Kenny Beats, fresh off their new album ii, the follow up to 2020’s Unlocked, stepped in as a brilliant late replacement for Ghostface Killah, high energy from the first note, ‘Walkin’’ igniting mosh pits everywhere it went and proving six years apart hasn’t dulled their chemistry one bit. Samara Cyn kept the North Arena’s run of intimate sets going, jumping on the MPC herself, further proof she’s one of the best upcoming female MCs going.

Dijon was heavily anticipated and delivered, leading his band and fans through hits from ‘Yamaha’ to ‘Talk Down’, an instrument heavy, carefree groove throughout. Leaving early to catch Jim Legxacy paid off entirely, his North Arena set the single most anticipated of the whole weekend and the craziest crowd to match, four Lime bikes inexplicably on stage, every song popping off, a genuinely moving slideshow tribute to his dog (who was blasphemously refused entry due to a strict No Dog policy) and “we love jim” chants breaking out as the arena had to be cornered off for overcrowding. “I cannot believe how many people are here,” he told the crowd. “Funnily enough, I’ve never actually been to a festival before. This is my first time going to a festival, so you lot are etched in my memory now.” The Lewisham rapper, fresh off a BBC Sound of 2026 runner up spot and a BRIT nomination, won’t be playing rooms this small for much longer.

Daniel Caesar followed with an enchanting, almost holy set, a sky blue clad choir behind him, his voice arguably the best of the whole weekend, ‘Rain Down’ and a cover of Jimmy Cliff’s ‘Many Rivers to Cross’ acting as a sobering wind down before the night’s final stretch. DJ Gummybear closed out the X Stage showing off genuinely dynamic talent, playing multiple instruments alongside singing and DJing in the same set. Baby Keem brought a huge crowd for the penultimate slot, arriving atop a sunken casino stage set nodding to this year’s Ca$ino album, opening with ‘No Security’ and working through cuts including ‘Good Flirts’ before some frustrating sound issues threatened to derail things. The crowd’s energy powered through regardless, ‘Family Ties’ landing as chaotically as you’d expect from one of the biggest songs either he or his relatively unknown cousin has ever put out.

Tyler, the Creator closed out the whole weekend on the same tube station set, pyrotechnics exploding as he launched straight into ‘Big Poe’ and ‘St. Chroma’. “The energy tonight is right this time!” he joked, needling the crowd against the night before. ‘Are We Still Friends?’ and ‘Sugar on my Tongue’ followed before Rex Orange County returned for an emotive ‘Boredom’, Tyler applauding the crowd afterwards for “What a great night.”, teasing us that the surprise guests weren’t finished. Then A$AP Rockycareered down the runway for a manic ‘Who Dat Boy?’, telling the crowd, “y’all don’t understand how much y’all have lifted my spirit.” A hymnal singalong to ‘Like Him’ gave way to ‘New Magic Wand’, before ‘See You Again’ closed things out, three songs spanning three hugely influential albums for an artist at the very top of his game.

Across the two days, Tyler and friends gave fans one last dance before summer properly ended, a bank holiday weekend that ran the full range from heavy hip hop to soft acoustic detours. Tyler’s own set was undeniably stronger on the second night, tighter, looser, clearly buoyed by the extra day of momentum behind him. Still, the vibes stayed high enough across both days that even the rain never really stood a chance, and every act on the bill, big or small, seemed to feed off the same relentless energy that’s defined this whole run of shows in the park. It’s been a brilliant couple of weekends at All Points East, capping off an even better summer of music in London, and a genuinely fitting way to sign it all off.

Words by Alex Peters
Photo Credit: Connor Mason
Photo Credit for image of Tyler, The Creator: Perry Gibson

Enchanting, delving into uncharted territory and delivered straight from the heart, Tiny Habits confirm with their new album that they are indeed ones to be kept around. 

Over the last few years, Tiny Habits have become the benchmark for rich harmonies, textured vocal arrangements and tracks that ooze charisma. Having found their roots within the intimate, folksy music world, the trio (made up of artists Maya Rae, Cinya Khan, and Judah Mayowa.) venture into a new era with their sophomore album, ‘Keepers’. Blooming with colour, this release expands the group’s sonic horizons as they delve into new genres and styles. It is a celebration of all they have learnt since their debut EP in 2023, building upon their experiences high and low. Transformed by all they’ve endured, they release this album rejuvenated and raring to go. Together across 12 songs, they seek to capture the excitement, uncertainty, heartbreak and self-discovery that come with growing into yourself. They tell the stories of the people, memories, relationships and versions of ourselves that we choose to carry forward into the great unknown and the ones that we ultimately choose to leave behind. 

The album opens with ‘Love Ruins Everything’. Longtime fans of Tiny Habits will immediately notice a sonic progression in style compared to earlier work. Built on percussion, horns and punchy keys, its a track that feels almost comparable to Motown and Soul. Where they may have been called quiet and unassuming before, Tiny Habits now enter the room with immediate presence. They are here to make a statement. The song is about evolutions in how we perceive and understand things, namely love and relationships. Compared to the hopeful sweet perspective people might have expected from the group in their previous folksy era, this is more mature and realised; there is the understanding that ‘real’ love does not work in ways we always want:

‘When it’s over it was all for nothing, when it’s happening it’s that or nothing else. 

This idea of perspectives and attitudes evolving with us as we move through live is a central theme to the album as a whole. For the purpose of the album, these perspectives and attitudes are largely tied into how we see and understand love and relationships. The idea though can be applied to Tiny Habits themselves. As they have moved through life and changed as a group, so has their artistry; the sound is different, the mindset is different, the approach is different. They are something new, and yet somehow keeping true to the foundations that make them who they are. 

For those looking for nostalgia, ‘Anything He Was’ will likely be on repeat. Musically, its the closest thing we get to the feel of the debut album - its early release as a single was a clever bridge between the sonic landscapes of the old and the new. Slow, steady and with a sobering honesty, its a track that highlights Rae, Khan and Mayowa’s abilities as singer-songwriters. Lamenting on a love turned bittersweet, the arrangement is simply gorgeous. Anyone who follows their social media knows that Tiny Habits have their harmonies down to an art but the way this track has been produced and orchestrated add layers and textures that paint the song in technicolour. The layers increase twofold when none other than Matty Healy of 1975 fame features in the chorus and second verse, an unexpected but welcome surprise. 

Not wanting to pigeonhole in their new era, the adventures through genre exploration and sonic style continue as the album progresses. ‘Someone You Love’ takes listeners into a more traditional pop feel with its earwormy electric guitar hook, dreamy synths and upbeat rhythm. Elsewhere on ‘Belt Loop’, things have a more RnB energy as the melody is punctuated by brass, bass and keys. There are moments throughout the record where you can identify potential influences and it’s very clear that Tiny Habits find inspiration all around them. Whether intentional or not, the nods are testament to the group’s versatility and breadth of talent; to be able to write in any genre is a feat, to be good in all of them is a gift.

‘Keepers’ is Tiny Habits colouring outside of the lines. Production wise, its a mosaic that paints a picture of unity through connection. From living rooms, a shower at a hockey arena and a farm in upstate New York, the album was worked on in spaces everywhere. All the pieces came together at home, where the trio were surrounded by friends and collaborators. It reflects on the experiences they’ve had both independently and as a group, ultimately asking the question of whether the pain we feel as a result of the things we keep around is worth the burden of being carried. Its impossible to ignore the changes in sound since their debut, the reality is that much like everything else in life, Tiny Habits will continue to evolve and expand. What remains the same though is their steadfast focus on the small, intimate and complicated feelings from which their songs are created. The music may sound different, but at it’s core it seeks to say the same thing.

Tiny Habits head on tour later this year. For now, all dates announced between September and December are exclusive to North America and Canada. They are joined by Marie Dresselhuis for all dates. Whether the tour will extend across the pond into the new year remains to be seen, all that can be done in the meantime is to keeper an eye out. 

Words by Kirsty-Ann Thomson

The legacy of Terry Fox, told in song by Bryan Adams. 

Byan Adams, Grammy and JUNO Award-winning singer, songwriter, and recording artist known for hits “Summer Of ‘69”, “Cuts Like a Knife”, “All for Love”, “Run To You”, “Heaven”, and more released his latest single “The Ballad of Terry Fox” on August 27th. The song is a heartfelt and uplifting celebration of one of Canada’s most enduring heroes, Terry Fox.

Adams’ musical career spans more than four decades, and is one of Canada’s most celebrated musicians. He continues to perform for audiences across the globe, and his music reflects a lifelong commitment to storytelling, authenticity, and the enduring power of rock and roll.

The single, “The Ballad of Terry Fox”, is inspired by the life and legacy of Terry Fox, telling the story of his historic Marathon of Hope, a 5,373 kilometers (3,339 mile) marathon from St. John’s, Newfoundland to Thunder Bay, Ontario. 

Some of the lyrics telling Terry’s legacy included, “he didn't run for medals, he didn’t run for gold”, “there was no closing ceremony, just a roadside clap”, and “he said “its a mission greater than himself””, showing how Terry's goal was not to become famous, it was to create change and fund a cure for all cancers. 

At eighteen years old, Terry Fox was diagnosed with osteogenic sarcoma just above the knee, causing the subsequent amputation of his leg. After sixteen months of treatment, he decided he would not stay in the cancer wards, instead he would run across Canada to raise money for cancer research in a Marathon of Hope, stopping in more than 400 towns, schools, and cities to speak about the marathons purpose. With lyrics, “he carried the nation's weight for 26 miles, then he’d go again” showing how each morning, Terry ran 26 miles, from 4:30am to 7pm each day for 143 days straight. 

The saddest lyrics of the song, “on a lonely stretch near Thunder Bay, his stride was halted, the body gave way”, was inspired by his final run on September 1st, 1980. After running 5,373 kilometers about 3,339 miles, the marathon ended at Thunder Bay, Ontario, on September 1st, 1980, when cancer returned in his lungs and he was forced to stop.

Even confined to a hospital bed, Terry’s advocacy for cancer donations did not halt. With over $25.4 million raised before his death and $1 billion more after, Terry changed the lives of many. With lyrics “He ran for everybody, he ran for me and you” and “he might have had to stop the run, but the fight still carries on / For every heart that followed him, the race was bravely won” Adams showed how much Terry shaped advancements, support, and donations in cancer research.

“I remember Terry’s run back in 1980 when I was on tour In Canada playing 200-capacity clubs,” Adams shared. “When he stopped near Thunder Bay on September 1, I had just played in Ottawa, and his run was all over the news. Without knowing it, Terry gave our country a ‘something' and ‘someone' that everyone could agree on and unite behind.” For Adams, Terry’s ability to turn one person’s determination into a country wide movement was what inspired the “The Ballad of Terry Fox”. The song is more than just a tribute to a Canadian hero, it is a celebration of the enduring power of hope, perseverance and the belief that one person can make a difference. 

The music video was directed by Sean Menard, the acclaimed filmmaker behind the upcoming documentary Run Terry Run. Together Adams’ musical tribute and the story of Terry’s Marathon of Hope capture Terry's legacy that continues to resonate across generations. The song will also be in the film, premiering at the Toronto International Film Festival. Adams stated, “I’m extremely proud to be part of Sean Menard’s film and especially proud of Terry and his legacy.” 

With Terry’s uplifting story, and Adams astounding story telling, “The Ballad of Terry Fox” draws on your emotions, making you want to learn more about Terry and his legacy.

Words by Isabella Basile

Pop auteur Lorde delivers a thrilling masterclass in high-concept emotional catharsis for her Bristol debut at Forwards Presents. 

For an artist that thrives through her radical authenticity and creative freedom, it’s baffling that Lorde is playing in Bristol for the very first time; a city that prides itself on these very values. Following a triumphant return to All Points East, her natural continuation to her expansive Ultrasound world tour is primed for its Clifton Down debut. 

Of course, ahead of the main show there are special guests preceding the star’s arrival. The prime candidate to start the party was Rose Gray. With a knack for bringing 90s house into dance pop anthems, her 4pm slot on the West Stage was the perfect choice to start the day. Armed with an onstage wardrobe boasting a tiara, purple leather coat and much more, she was every inch the club diva on stage. 

Orchestral flourishes opened the set with ‘Angel of Satisfaction’ which quickly transitioned into a lively floor filler. Her spectacular show was a welcome blast of escapist hedonism which felt criminally early in the day; tracks like ‘Wet & Wild’ and ‘Party People’ demand the enclosed drama of an evening festival tent. An unreleased track, ‘God is a DJ’, drew cheers with its sample of Madonna’s ‘Music’ – less confessions on the dancefloor, more gyrations at the rave-core. 

However, one who has plenty to confess, Audrey Hobert has been fondly dubbed by critics as ‘pop’s new clown princess’ thanks to her self-deprecating humour onstage paired with a good ear for a catchy pop hook. Her diaristic style of songwriting was honed when she penned chart hits like ‘That’s So True’ and ‘I Love You, I’m Sorry’ for Gracie Abrams. This is perhaps why despite being an emerging act, her performance comes with an air of grounded confidence. 

That is apart from the moment before ‘Sue Me’ where she brought a trampoline onstage, making a few awkward bounces before launching into her viral hit. The clown analogy makes sense when you pair this with her authentic approach to engaging the audience. Halfway through, despite earlier airing her frustration for those filming most of the set, she declared “I've never had more fun, this is a true smile". 

Elsewhere a local talent took to the East Stage, Bristol producer and vocalist Grove swerved the afternoon into a different direction. Having built a stellar reputation on the underground electronic scene, their buoyant blend of dancehall, jungle and drum & bass lent a new buzz to a rainy afternoon. Later in the day pop singer-songwriter Maisie Peters lead a stirring tribute to Dolly Parton with a spirited cover of ‘Here You Come Again’ by Barry Mann. “I wouldn’t be here without you Dolly!” she professed to the audience. 

For those that don't know Joe Keery from Stranger Things or Fargo, you may know him as DJO from the unstoppable 'End of Beginning' which has amassed nearly 3 billion streams on Spotify. But beyond the runaway success of the song heard round the world, Keery's music is sepia-tinged retro synth pop with flavours of garage-rock grit and a light dusting of psychedelia. 'Charlie's Garden' lifted tricks straight from the Sgt Pepper’s Lonely Hearts Club Band playbook and the smooth bass groove of 'Delete Ya' had echoes of The Police. Yet Djo made his throwback sound bleed with raw originality, easily engaging fans ahead of the main event. 

On the West Stage powered by green hydrogen, the only waste is drinkable water. In iconic fashion, Lorde began by drinking this water from a fountain before slipping into bold opener ‘Royals’. "A while ago when I found out the festival was clean powered, that resonates so much with me. You just did the right thing Bristol" she said while ruminating on her Forwards experience. 

Despite once famously proclaiming in The Guardian “I’m not a climate-change activist, I’m a pop star”, the ‘Solar Power’ singer has become a stalwart for greener touring. Her partnership with sustainable touring non-profit REVERB has helped eliminate single-use plastics for her whole team and even help with redistribution of leftover toiletries, batteries and catering so nothing is wasted. 

For someone with such a complex emotional palette, the alt-pop siren excels at bringing light to her most difficult moments through her music. ‘Shapeshifter’ and ‘Man of The Year’ confront her approach to gender identity in different ways, evolving from her discomfort in her dress at a GQ awards show to her seismic rebirth into her gender fluidity. But ‘Broken Glass’ was the most strikingly profound highlight. She twirled against a backdrop of a heart monitor crooning “I want to punch a mirror, to make her see that this won’t last” – seeing her perform live a song about her tackling her eating disorder and body dysmorphia shows just how far the New Zealand singer has come since the days of Pure Heroine. 

Growth has been a prominent part of the Auckland singer’s journey; the best example was displayed (quite literally) during ‘Liability’. As she delicately sang “They say, you’re a little much for me, you’re a liability” her younger self is projected on her chest. Nothing is quite so on the nose as when she charts her evolution from pop's new girl to a confident young woman who is more candid than ever about her gender identity and her body. 

As she reached her final victory lap, preceding closer ‘Ribs’ was the emotional gut punch ‘David’. Having become a viral live set piece, she deployed a banner which is passed back through the crowd boldly stating ‘I don’t belong to anyone’ – a thematic set piece which defines the pop auteur. Lorde’s Forwards Festival debut was a striking testament to an artist who has stopped apologising for breaking the mould but instead embraced her vulnerability as her greatest strength.

Words by Oliver Evans
Photo Credit: @giugliotto

There’s something about Alex Warren’s music that feels like a therapy session. His songs have an unusual ability to sit beside you in the messier corners of life, offering neither easy answers nor polished clichés, but a sense that someone else understands.

On WILDCHILD, his second studio album, Warren turns that quality into something particularly affecting. Endearing, emotionally charged and remarkably honest, this is a pop record about surviving the past while learning how to embrace the life that remains.

Clocking in at 13 tracks and 38 minutes and 55 seconds, WILDCHILD is a deeply personal record. Ahead of its release, Warren introduced listeners to the album through ‘FEVER DREAM’, ‘FINE PLACE TO DIE’, ‘PASSENGER’ and ‘RESCUER’, each offering a glimpse into the emotional landscape that would follow. Together, the songs reveal an artist increasingly comfortable allowing vulnerability to sit at the centre of his work.

Much of the album is inspired by Warren’s wife, Kouvr Annon, and his relationship with his late parents. Audio snippets from his father appear throughout the record, adding an intimate, almost documentary quality to the listening experience. Even the album’s title carries personal significance, taken from a nickname given to Warren by his father. It makes WILDCHILD feel less like a collection of songs and more like a family album in its own right, preserving memories while creating new ones.

‘FEVER DREAM’ captures the dizzying excitement of falling in love. Built around rhythmic piano and a driving drumbeat, the song recalls the first time Warren met Annon and embraces the thrill of a romance that arrives with overwhelming force. It is bright, immediate pop, but its emotional core is unmistakably sincere.

That sincerity becomes even more pronounced on ‘RESCUER’, the fourth single released ahead of the album. Warren reflects on the lowest points of his life, including a period when he was homeless and sleeping in his car, before turning his attention towards the person who stayed beside him. His gratitude towards Annon is palpable. Rather than simply presenting love as romantic happiness, Warren portrays it as something capable of providing stability, hope and a reason to keep moving forward.

Among the album’s standout moments is ‘CRY WOLF’, which brings an edgier energy to the record. Warren’s punchier vocal performance gives the song a welcome sense of anger and confrontation. The lyric, “The devil don’t knock at your door / When you got no soul to sell / Why would I try to ruin your life when you’re doing it by yourself?” is particularly biting, demonstrating his ability to turn self-destruction into something both catchy and uncomfortable.

‘WON’T GO BACK AGAIN’ continues that journey towards resilience. “Gone are the days, now I’m coming back stronger” feels almost like a mission statement for the album. The scars Warren sings about are emotional rather than superficial, and the song acknowledges that healing does not mean forgetting what happened. Sometimes it simply means refusing to return to the place that broke you.

Perhaps what makes WILDCHILD so special, however, is its universality. Warren’s experiences are deeply specific, yet the emotions never feel exclusive. There is heartbreak, grief, gratitude, anger, love and hope here, often delivered in bite-sized pop songs that invite you to sing along even when the subject matter hurts.

As someone who also belongs to the dead-parent club, there is something especially touching about the way Warren approaches grief. Listening to WILDCHILD can feel like being invited around a bonfire with a group of strangers who somehow understand. You talk about the people you lost, the lives they lived and the pieces of them that remain with you. It is perhaps the album’s most beautiful quality.

Warren’s artistry continues to evolve, but WILDCHILD never feels like an attempt to become someone else. Instead, he expands the emotional vocabulary of his music while remaining recognisably himself. He blends lyrical vulnerability with musical joy, creating a record that can make you dance, cry and reflect within the same 39-minute journey.

WILDCHILD is not simply about what Warren has survived. It is about what he has found on the other side. And sometimes, that is the most meaningful story an artist can tell.

Words by Danielle Holian

Matilda Lyn causes quite the flutter with her debut album, ‘Red Dragonfly’.

Matilda Lyn has in recent years solidified her status as the next main protagonist within the ever expanding world of intricate, textural and storytelling pop music. Having built up a distinctive sound made from weaving together ethereal yet dissonant instrumentals, sugary sweet vocals and just a touch of magic, her debut album is a joyous introduction to an artist who has been honing their craft for years. Over eleven stunning tracks, she cuts to the very core of her artistry; delving into beginnings, endungs and everything in vibrant technicolour. While its impossible to say everything you want to say on one record, Lyn explained her hopes for what the album would be able to get across:

“‘Red Dragonfly’ to me, drifts through transformation and change, reminding me of who I truly am. This is the first time I’ve made music and been totally aligned with how I want it to sound. This is me being the truest form of myself.”

With searing clarity and a vulnerability that bleeds through all the songs, this album is a fully realised world that Lyn invites you to dive into. Expansive, intimate and threaded with a sense of quiet but profound transformation, it is a dream to listen to as we all change with the seasons from summer into autumn.

The album opens with ‘Distraction’. From the title alone, its a wonderfully fitting way to begin proceedings. In a world where we are all distracted and having our attention pulled a myriad of different ways, theres something brilliant about how Lyn seeks to capture our interest with a song that exposes but also unites us in our preoccupation with life. Much like everything else that distracts us, the rythmn is fast paced and carries a kind of urgency that pulls you in for the ride. The way Lyn is able to build and layer the different instrumentals is stunning - with each listen you will uncover a new harmony or motif that gives the song more and more sonic depth. Always a new thing to be distracted, or rather, captivated by. The song ends in the same way that many a daydream often are; cut off, bringing us hurtling back to reality and longing for more. Luckily for us, Lyn is just getting started.

‘Detach’, and ‘Loving Loudly’ embody the same dreamlike quality that we have come to expect from Lyn. In different ways they all ooze a warmth that makes you wish for the summer to last that little bit longer. Moving a step away from the sweetness, ‘Compliments’ brings in new colours and shades as Lyn laments on the interactions that turned a connection sour. It starts fairly gently but in the bridge is given the space to let loose; the line ‘What the hell do you think you’re doing’ transforms from quiet question to an exclamation of the built up frustrations of having let someone get away with treating you the wrong way for too long. At first, it’s addressed to the guilty partner but with second and third listens, you begin to realise the question is pointed inwards too. Anthemic, powerful and urging yourself to seek out better, I anticipate this will be a favourite to perform live.

At the emotional epicentre of the album is title track ‘Red Dragonfly, incidentally also marking the halfway point as song number five. Its a song which Lyn says wrote itself, explaining that it felt like ‘its been in your body and mind for a long time’. Tracing the slow erosion of one’s own identity when trapped within the cycles of a destructive relationship, it is unflinching in how it deals with the collision of pleasure, loss and the inevitability of change.

Perhaps a reflection on her older work, ‘Little Baby’ expands on the cosy, folksy feel of previous EP releases ‘Bowl of Unripe Fruit’ and ‘Sunwarmed’. Soothing both the heart and the soul, its a grown up lullaby that brings together the new exciting ideas from her present and future sounds and the memories and nostalgia from the music she listened to growing up. The song is as much about embracing your innner child as it is letting them go: Lyn describes it as being full of the experiences and moments that came from growing up. She explains: ‘Sometimes it’s easy to think you’ve grown up but then the little baby in you shows up… letting her go is like pulling teeth, that part of me; the little baby’

A love song of sorts, it is deeply introspective and focuses on the universal insecurities and anxieties we all feel when we are forced to change alongside the world around us. A reflection of that change, the instrumentation is sweeping and in ways unforgiving. The synth beat than runs throughout speaks to the pace at which we have to just go on; a thumping drum that pulls you endlessly forwards. Lyn’s vocals are enchanting as ever, a steadfast guide amidst all the noise.

Things close out with ‘A Little Bit of Blue’. Contrary to what the title would suggest, it sounds like the feeling of waking up alongside a sunrise. Warm, light, and sung with a sense of hope for what’s to come. Production wise, its possibly one of the most stripped back songs on the album - an apt way to finish, allowing Lyn’s vocals to speak for themselves. They’re all beautiful but a lyric that really stands out is; ‘I can’t do anymore than this but I promise the feeling won’t stick forever.’

The ‘little bit of blue’ Lyn is talking about here are the things that get in the way; not having enough time, not being in the right place, not being able to commit yourself fully to something. The obstacles that prevent us from being our truest, happiest selves. She acknowledges that they will always be there, their inevitability is something that we can’t avoid nor fight. Over and over though she says that she will ‘wash your blue away’. While none of us can stop the bad things from happening nor can we really ever get rid of them outright, we are better able to deal with them together than we are alone. Throughout the whole album, she has explored the way we can choose to react in the face of change and struggle. The message that comes through is that only with community can we make things better for eachother; in coming together, we can see Matilda Lyn and by extension eachother as we are.

Having performed in her hometown of Gothenburg and at Way out West festival earlier this month, all eyes turn to when and where we can expect to see Lyn next. She has an album release show scheduled in bar Snovit in Stockholm but other than that, no live dates announced as of yet. If and when they do get announced, previous performances indicate that they are not to be missed. All we can do in the meantime is watch this space with the album on repeat.

Words by Kirsty Thomson

Becoming one of the biggest, loudest, and most honest metalcore acts in the scene right now, Beartooth are in the midst of a new evolution both personally and musically. Beginning with their previous release The Surface, the American outfit are continuing on their destined path of success with a whole new set of directions. Following this road further into brighter backgrounds, this is Pure Ecstasy.

Opening with the title track, it sets the mood for the record. It’s the signature metal influences at play while what feels like starting all over again. Ending with a stripped-back recording of frontman Caleb Shomo singing the chorus, the track runs smoothly into the follow-up, ‘Eyes Closed’. A track about moving through life blind to the future - described literally in the lyrics as moving “with my eyes closed” - it can be a meeting of both the positives and negatives. Realising that living life without seeing, hearing and feeling everything is not living in any way, and coming to terms with what comes after said realisation sets in.

Shomo’s vocals have taken a step up not only in quality with this record, but in the soul and the passion behind it. Duetting with himself on this record, in the likes of ‘Eyes Closed’, it is an artistic choice that mirrors two sides of one personality talking, debating, arguing. Something that every person has had at one time or another over life events, identity crises, and other parts of the human experience. Contrastingly, Shomo can also highlight almost immediately after this how he can take sole storytelling to a new level; such as in ‘Bullshit’, where his vocal aspect changes throughout the chorus as it grows louder, rougher, and ends as full on guttural screams of pain and anxiety.

At the midpoint of the album is ‘Free’, the first single released and the first taste of the new era given to fans. It’s lighter in tone, while not compromising on musical composition. An uplifting song that comes across as both a therapeutic exercise and a heavy rock anthem. With Shomo’s soft chants of, “I’m free, I’m free, I’m free”, it expresses the pure no-holding-back flow of energy that comes out when obstacles are out of the way. When the weight of the world falls off one’s shoulders for the first time. However, including references to pain and suffocation could also throw in a conflicting reason to the sudden release of freedom: the implication that one is not free in life, but feeling free in the afterlife.

Beartooth have acquired the fame and fan following they received from being as open and uncensored as possible about anxiety, depression, repression and feeling tied down to life’s cruel nature. Pure Ecstasy however seems to be taking a new turn, with a new energy running through the band that took all this time to understand and hone into their creative crafts.

Ending the record with ‘I Made It’, it closes everything on the highest note the band could possibly bring to the eleven-track masterpiece. Beginning with a phone recording about promising to begin living authentically and being true to oneself, this is the track that stands out as the most personal and meaningful for Beartooth and Shomo himself. With the context of the vocalist’s recent emotional and identity transformation, this pulls at the heartstrings with every lyric. With the music fading out slowly at the end, with Shomo’s voice becoming softer, more fragile, the record closes with the hardest hitting lyric of its entirety: “I guess loving myself could never be true”.

Pure Ecstasy is a waging war within oneself coming to its end, and determining what the result of this war will be. It’s either risking everything to become fully and completely actualised and live how one feels happiest; or toughing it out and conforming for everyone’s sake until being granted freedom upon death. It reflects the wider social and political culture and the effect that can have on individuals that do not meet the standards of what is right, what is normal, and what is expected, and how they come out of that hellscape. However, as the album title and the closing song reflect, there is never a better feeling than just being oneself. That is the best way of experiencing pure ecstasy.

Words by Jo Cosgrove

This week's Band of the Week is Cornish based four-piece Fletchr Fletchr - who have just released their second EP 'On The Island We Call Home' via Polydor.

It sees the young band truly bloom. With songs encompassing universal anxieties about modern life, whilst remaining charged with hope and optimism via their widescreen brand of indie rock, it makes for a life-affirming concoction.

Following up from their debut EP ‘We All Feel the Same’, this latest self-produced body of work also sees the band mature into more nuanced songwriters, exploring their vulnerabilities via vivid guitar textures and introspective lyrical depth.

Speaking about the new EP, lead vocalist Rohan Fletcher says: “‘On The Island We Call Home’ feels like our most polished piece of work yet. While still completely self-produced, we’ve refined what we learnt from ‘We All Feel The Same’ into a much heavier hitting project that was curated to translate on the live stage. We dive deeper than we have before on this EP, and it’s only the start of our next chapter.

The themes we explore are more mature and we approach them with a better sense of what’s going on around us. You can hear a bit more angst and anger in this new set of songs… from ‘Streetlights’ talking about the difficulties of relationships; ‘Fucking With My Head’ being about anxiety, and ‘Passenger’ which is about the state of the UK right now. There’s a lot for people listening to take and put their own meanings to."

Due to head out on tour this autumn - the band took a moment to chat to us about how the EP came together.

Hey there, how are you? So your EP is out now – how does it feel to have it out there?
Really good thank you! We started working on this project about a year ago and have been through lots of up and downs on the mix and overall vibe we wanted to create, but I think it’s really paid off and resulted in our best piece of work yet.

It is called 'On The Island We Call Home' – what is the meaning behind that?
It’s stating what we are. We’re an English band that have grown up and spent our time all around this country. We wanted to address things that we were happy and unhappy about, not just with our lives but with the place we live and call home.

Where was it recorded? Any behind the scenes stories you are willing to share with us?
It was written and recorded pretty much all in Cornwall. We booked out a studio in Perranporth, locked ourselves in there for ten days and self-produced ten songs. The five that made it onto he EP were our favourites. 

What are the key influences behind the EP?
We've definitely taken some inspiration from the indie/guitar scene at the moment, by using heavier guitars and rhythms in a lot of these new songs, and leaning into a bit of a darker sound than the last EP.

If the EP could be a soundtrack to any film – which one and why?
We had Requiem for a Dream in our heads a lot during the production process, but I think it’s ended up happier than that. So, I’d say, Perks of being a Wallflower.

Do you have a favourite lyric on the EP? If so, which one and why?
'It don’t feel good being a passenger, front row at your own show'. I think it’s sums up the whole EP of feeling like you don’t have control of the world around you, but also learning that you’ve got to accept that. 

Now the EP is out there – what next for you?
Album. We can’t wait for it.

Victoria Park’s annual eclectic array of shows teams up with heavy music juggernaut Outbreak Festival to deliver an all-star cast of truly unforgettable shows.

All Points East is a long-standing pillar of the London music scene, having hosted a plethora of the world’s best and brightest from every genre over the years, but this year's collaborative team-up with Outbreak Festival saw various kings and queens of heavy music descend upon Victoria Park for a riot-filled day of action-packed sets, vicious musicianship and unyielding raw talent. The line-up this year was the definition of stacked, hosting titans like Deftness, Idles, AFI, Amyl and the Sniffers and Basement across their main stages while remaining to champion smaller artists from the alternative scene with bands like Tooth, Wisp, Show Me the Body and Ecca Vandal alongside a variety of high-energy hip-hop artists such as JPEGMAFIA, EssDee Kid and Kenny Mason. These scenes have often run alongside each other on the precipice of counterculture, and to see them welded together into such an ironclad event and have these communities celebrated made for a seminal musical experience. Every band was truly on top form across all stages, with the north arena stage hosting a blend of rap artists and up-and-coming heavy hitters, while the Rising, X and E3 stages pulled together a host of excellent new artists. This, coupled with the powerhouse talents across each stage, proved to be truly unforgettable. 

As the waves of Deftones shirts and eyeliner-clad fans began to swarm the arena, the smaller stages were off to the races with Show Me the Body beating the north arena crowd into submission with their fast paced and glaring riffs and gathering a host of new fans while they were at it, as this set raged on it soon became time for the very first big name on the bill to open up the east stage, Basement. Not far removed from their iconic and earth-shattering headline set of Outbreak Manchester, Basement took the stage to potentially one of the biggest and most unruly crowds I have ever witnessed for an opener. This set proved that it will be no time at all before they have their name on the marquee for a gigantic event like this, as every step Basement have taken thus far behind their 2026 release ’WIRED’ has been calculated and hyper successful. The unyielding forward momentum that they possess is something that is sung to the heavens time and time again, as Andrew said at their Manchester show, ’Basement is not a nostalgia band; this is a living, breathing creative process’, and their live shows take that to the next level. They opened up by tearing straight through a host of tracks from ‘WIRED’, with ’Time Waster’ proving to be the perfect song to put some bounce in the crowd. There was a sense of immediacy to the energy they brought as their older bangers like ‘Covet’ and ‘Hole’ rang out over mosh pits and crowd surfers from beginning to end before closing out on the brilliant ‘Promise Everything’.

After Basement, it was clear that the crowd was raring to go, and as Basement ended, the crowd were fortunate enough to be able to make a mad dash through the dust and dry heat over to the west stage for Philadelphia powerhouse, Mannequin Pussy. Their set was laden with charm, aggression and powerful political messaging that drove a deep sense of purpose into the crowd as they raged through hardcore-style heavy hitters like ‘Pigs Is Pigs’ and ‘OK? OK! OK? OK!’ In a cacophony of flailing limbs and coarse screams, before bringing it back down for their elegant and sharp closing track ‘Loud Bark’. The sheer magnetism and stage presence of Mannequin pussy is second to none and created this trance-like energy around the adoring fans that crowded the stage.

This set was closely followed by the most intricate and stylishly aggressive hip-hop artist on the bill, JPEGMAFIA. Known for blending elements of modern hip-hop and other alternative genres, he, along with his 4-piece ensemble, took to the stage with the tenacious frontman making the brave choice of wearing an entire blacked-out suit and gloves; this was not a case of style over substance, however, as JPEGMAFIA came to tear the roof down. His band backed his rapid and punchy flows through every track. The highlights of which were a beautifully performed cover of Carly-Rae Jepsen’s ‘Call Me Maybe’ and the scathing and punk-centred ‘I Scream in the Mirror Before I Interact with Anyone’. This hard-hitting set was the perfect example of the kind of power on display when artists blend countercultures into a fresh and eccentric sound and opened up new doors for many people who may have just been fans of one of those respective genres. 

The next two trips through the dust bowl proved very worthwhile as the east and west stages respectively hosted AFI and Interpol, two drastically different bands that were both absolutely astounding for different reasons. While both bands sounded fantastic, the energy and presence were two different beasts within themselves. AFI brought a daring and enthusiastic hard classic rock feel to the stage, and to this day I will always wonder how on earth this band aren’t playing stadiums. Their presence, especially the sheer tenacity and unencumbered energy of the lead singer Davey Havok, is lightning in a bottle, and to witness that on a festival stage felt like. Headline set, everything from their love of harmonics to their expert craftsmanship made for a truly wild ride. Both of these bands’ stage presence have aged like fine wine, as the AFI sound feels even better live now than it does on record at their peak. Their loud and in-your-face style made for one of the most energetic sets of the weekend as various members of the bands flung themselves off of the risers and now likely possess enough air miles to get to the middle of France for free. Interpol were the opposite end of the scale, while remaining just as brilliant. Their brooding and scalded sound was only amplified by the band’s sheer style and swagger. Interpol are exactly what you would imagine a rock band to look like and took to the stage as the epitome of cool, burning through songs like ‘Obstacle 1’ and ‘PDA’ with a burning passion and without a note out of place. Everything about both of these bands propelled energy into both of their enormous crowds and acted as the perfect deviation from the rest of the line-up, keeping things fresh and ready for the final three acts on these main stages. 

Amyl and the Sniffers were the next act on the east stage and cemented their place as future hall of famers. Their unique blend of Aussie punk has been one of the greatest things to witness in the modern music scene, and having seen them before, anticipation was high for this monstrous set, and needless to say, all expectations were blown out of the water. Their carefree tracks like ‘Tiny Bikini’ and ‘Me and the Girls’ from their 2024 album had a buoyant and vibrant energy in their lyricism that created a perfect classic with the piercing and vicious instrumentals. The raw talent of the instrumental section boosts the performance to new heights every time, and despite having a replacement bassist, everyone stayed in the pocket and shredded away for the whole set. Declan, the guitarist for the Aussie four piece, may very well be one of the best around at the moment and it's mesmerising to see someone enjoy themselves that much while playing such complex and intricately woven solos, this is reinforced tenfold by their rhythm section who again despite the stand in made Amy Taylors job of dancing like a woman possessed while singing with vitriol and unbridled punk energy even easier. 

Following immediately after Amyl’s whirlwind set, it was time for our west stage headliner, Bristol’s very own Idles. This band holds a special place for me, being from Bristol, and seeing them succeed and become so prominent at the level they operate within is astounding. Idles bring the heat every time they grace the stage, and All Points East was no different. Their set is down to an eloquently performed routine now: the scorned rasping vocals and a jungle of discordant tones takes the very ethos of punk music and amplifies it with frenzied inspiration and creative prowess, and this is never more evident than when you’re watching it happen meters away from you. Starting heavy on Colossus, they battled through the dust-ridden crowd and kept their high energy maniacal tone up the entire set, pouring emotion and spite into personal songs like ‘Mother’ and ‘The Wheel’ while remaining dancey and radiant the entire time despite the heavy context behind these tracks. Their action-packed hour saw pits on top of pits for barbarous tracks like ‘Mr. Motivator’ and ‘Never Fight a Man with a Perm’. Their aggressive form of community and loving care for themselves and their fans is always clear and this care coupled with the honest and true fighting for a better tomorrow for people worldwide makes idles fans everywhere proud to call their catalogue and their performances a home away from home, this strong sense of unity often comes out in the form of ‘Danny Nedelko’ and in the current climate this song both live and on record acts as a beacon of hope for people to be able to stand together and that they did, arm in arm or arm in face if you were caught in the middle of the pit every word was growled back at the stage from an energised and communal crowd. Idles acted as the perfect sub-headliner as they injected dopamine into the festival audience for one last time before the big finale, the mighty Deftones.

A long-standing titan of this millennium’s metal scene, Deftones had managed to capture the spirit of what made their previous records so powerful and inject it into an all-new time frame with their 2025 album ‘Private Music’. After touring around the UK in February of this year and leaving a real mark on the crowds that were present to bear witness, this return wasn’t wanted; it was necessary. The crowd packed themselves in tightly to the east stage as far back as the eye could see and waited in anxious anticipation to be shrouded in the foreboding and chilling sound of their long running catalogue and as soon as the first high pitch harmonic chord of ’Be Quiet and Drive (Far Away)’ was struck it rang out to a rampant applause and collection of cheers before jumping straight into the chaos. Opening on such a classic was the perfect plan to sow the seeds of disarray, a theme that carried out through the entirety of the set. Aside from the astounding performance itself the on-screen visuals and the stage lighting were some of the most ingenious I have seen for a festival stage, the already dense and sonically rich atmosphere of the deftness performance is greatly amplified by the uncanny and strange visuals that back their set through its duration and made the set feel much more special as every song felt as if it was the centre of the universe and everything else was existing around it. The immersion of their live performance was best demonstrated in the songs from their albums ‘Diamond Eyes’ and the aforementioned ‘Private Music’. While the tone of diamond eyes is a more eerie and calculated sound, they kept its original feel and added heavier tones and more brutal compositions, allowing it to flow through the energy of the crowd seamlessly while songs like ‘Private Music’s’ ‘Locked Club’ and ‘My Mind Is a Mountain’ carried the raw power throughout the first half of the set without missing a single beat.

The second half of their set contained a similar host of classics and deep cuts to channel the crowd’s unwavering energy as the guttural screams of tracks like ‘Infinite Source’ gave way to emotive and cavernous singalongs like ’Sextapes’. The mix of sound and style suited the band so well as this unapologetic change of pace kept anticipation high and allowed for all forms of self-expression. Be it dancing like a lunatic and screaming the air from your lungs or swaying amidst a singalong, the vibe was perfectly encapsulated by every song and allowed the flow of the set to work its magic while Deftones kept their truly magnetic performance rolling. As we came to a close, they played three of their biggest and best songs, after seeming as if they had already laid it all out on the stage it was a pleasant surprise to hear the agony in people's voices as they attempted to harmonise with the band through ‘Change (In the House of Flies) before giving us two of the best live songs I have ever seen. The first of these two was obvious, that being ‘My Own Summer (Shove It)’, arguably the most influential and grandiose song in their catalogue, a song that inspired waves and generations of bands after to make some of the music that the Outbreak crowd hold so dear. This song gave Deftones the power of the world in their hands as they commanded the crowd through its rhapsodies of anarchy; everyone throughout the entire crowd showed up to let loose for that song with pits forming front to back and gangs of audience members slamming into each other in pure elation. This energy was melded yet again into my personal favourite of the evening,’7 Words’. A no-holds-barred anthem from their first album that saw the range of Chino’s vocals pushed to their limits as he squealed and writhed in anger during the songs malicious chorus and final breakdown. Every part of this performance was on point; the rapid crunching riffs played over the pounding of Abe’s drum kit as the band gave it their absolute all made for the perfect close to a set that I and many others will remember forever.

All Points East did a phenomenal job at displaying all levels of the alternative scene and has really given a platform to bands that rightfully deserve it. It was an honour to be able to witness these sets and experience the depth of talent that these genres possess, and it has me hopeful for the future of these festivals. If organisations can keep creating spaces for artists to flourish, grow and show off the art, the passion and the aggression that they need to show the world, then it will inspire more artists for years to come to keep creating music that breathes life into these alternative scenes. Outbreak and All Points East have pulled off a true masterclass of entertainment, and after the layer of dust has been washed off and your vocal cords have recovered, make sure you grab tickets to local shows and band tours to ensure that you can give life to the scene from the other side of the stage the way that these bands have this past weekend. 

Words by Josh Pook
Photography Stefania Semini

Arctangent festival bows out of Fernhill Farm with a truly one-of-a-kind event; featuring Cult of Luna and Julie Christmas’ iconic genre-defining album Mariner performed in full, alongside a collection of names like Chelsea Wolfe, Maruja and Igorrr that showcase the unique brilliance of Arctangent

I was there, the day Arctangent said goodbye to Fernhill Farm. I was there, the day Cult of Luna and Julie Christmas played ‘Mariner’ in full to celebrate its ten-year anniversary. I was there the day a man dressed in nothing but empty beer boxes decided to engage in a brawl with a man dressed as a giant dinosaur. In a festival full of “I was there” moments – Arctangent gave us one legendary final bow. 

When I mentioned that I was going to Arctangent festival to my flatmate as I was running out the door; she commented “it looks a bit niche”. Niche is an understatement: Arctangent’s genre variety in the post/prog/punk metal fields showcases a lineup diversity that drifts between shoegaze and post punk at the touch of a button. One stage you’ll have Maruja and their post-punk brilliance with a touch of elevated jazz to their chaos and mayhem the next you’ll have Eivør performing ‘The Last Kingdom’ main theme alongside Chat Pile’s frontman Ray B listing a history of films made about music festivals to a befuddled crowd here for a brawl. The only genre best served for Arctangent is “Arctangent” – and festival organiser James Scarlett and company has crafted such a unique sphere of influence that it’s hard not to be pulled in over the trendier festivals of All Points East and hipster escape of Green Man happening the same weekend. 

This edition is particularly memorable for it is the last year at Fernhill Farm in Bristol before the festival site ups sticks and moves to the Cotswolds, about an hour from Birmingham. So predictably, when I arrive on the Thursday, unable to make it down for the pre-festival warm-up party containing Svalbard’s last ever show among other bands like Papanagu and Cardiacs, it immediately becomes apparent that Fernhill Farm exists in a world unto itself: despite being the centre of a summer-long record-breaking twice over heatwave; we arrive on the only day where the heavens open and rain floods the field. But it couldn’t have been timed better – the coach gets into Fernhill Farm for ONE LAST TIME – I can’t stress this enough, we’re never going back to Fernhill again – there’s something mythical, romantic about a swansong that isn’t really a swansong because the core spirit of Arctangent is staying the same – it’s just moving places – the sun bursts from the heavens and we get ridiculously lucky with the ability to put up a tent in the sun.

THURSDAY 20 AUGUST 

I make it over to the Arc Stage for Ian, first up – who go down a storm, and their cult of a fandom is very much real and alive. For a band on at 11am they have a huge turnout and make the most of it – emerging out of Exeter’s early 00s punk scene and have the visceral allure of Cult of Luna and Amenra almost instantly. ‘Come on Everybody, Let’s Do Nothing’ is a fantastic debut launch of an album and we are treated to a series of slowly mounting riffs that build and build with the allure of a master at work – their demand had them packed out the Dev at Desertfest long before start time; and it instantly becomes apparent that it won’t be long before they’re elevated further and further up the billing. What a way to start Arctangent – coming out of the gates and firing on all cylinders. You want hurling riffs you’ve come to the right place. 

In need of a rest, second band we see on the main stage is Iskandr and by this time the party is in full effect – Arctangent is a marathon not a sprint and if you wanted to you could see upwards of 10 bands before 7pm so the trick is pacing yourself and not getting plastered too early. The number of bands means it’s a sober festival with barely any amount of time to stop for food or drinks, and the step count is higher than most regular festivals of twice Arctangent’s size. Iskandr’s psychedelic folk doom is triumphant and a real winner that position him up for tastemaker festival Left of the Dial nicely as a solo one-man-band, dipping into black metal with a swirl of post-industrial music that brings back the era of the 60s and 70s.  It’s vivid and sinister, like a dream that quickly becomes a nightmare – murky and trusting the atmosphere from the go. Arctangent is an atmospheric festival and Iskandr couldn’t be more at home here.

Photo Credit: Abbi Draper-Scott

Matador have a cover of ‘Where is My Mind?’ that they bring their own allure and mystique in a sludge-y metal way, using their cinematic influences to make a memorable setlist that comes alive with a sonic wall of sound that’s impossible to tear away from. ‘The House Always Wins’ is an instant mood-setter – and the psychedelic post-metal feels incredibly expansive. You could see them at Desertfest sooner rather than later – a band quickly on the rise that has a touch of clean sound to it that navigates through the rawness. 

It’s a quick run to Zeta who are one of the more stylistically unique and different bands of Arctangent’s whole lineup, focused on dense polyrhythmic percussion mixed in with Afro-Caribbean music and injected with pure unaltered punk psych. They’re one of the more eye-catching bands on Arctangent’s entire lineup and their performance creates an instant 70s style vibe that draws many in instantly – and creates many new ones. Impossible to tear away from I was hooked and they end up being my favourite of the whole weekend; leading an angry cry against America and how members of their band can’t be allowed into the country due to their birth location – as they bring themselves from Venezuela to the UK they come thousands of miles away for a memorable experience that’s instantly peerless in their form.

Photo Credit: Abbi Draper-Scott

Psychonaut and Benthos come next, the post-rock industrial sounds of Psychonaut create an instant foundation that builds on a psychedelic prog and have been thriving in the scene of Europe’s underground for almost a decade – crafting their own unique sphere of influence in Belgium to the point where they’ve ended up this year at Rock Werchter; their version of Reading and Leeds. The thunderous doom that accompanies a Psychonaut set has vocalist Thomas Michiels in the form of his life – opposite Benthos’ prog brilliance that was worthy of a repeat trip after such a memorable show at Radar in Manchester earlier in the month, they’re even better here. The Italians mix mathcore with post-hardcore and psych to create such a unique sound that’s impossible to turn away from. I love ‘Perpetual Drone Monkeys’ and you should too – an instant highlight of a sound that feels so utterly distinctive, starting high and then roaring into life with the way that few bands can capture their vocal range.

For most festivals this would be enough but Arctangent just keep going. The double header of Nordic Giants and Agent Fresco is incredible, and a comedown means we miss Alcest – but man, the wonderfully named Tony Danza Tapdance Extravangaza goes hard with a pure noise onslaught of math rock that is loud, abrasive, and goads the crowd by encouraging them to crowd-surf the most times to win a tee shirt, and anyone who leaves Arctangent early and sees them at their other shows and does it the same number of times will win a permanent guest list spot. It gets the crowd motivated and they brawl – Arctangent capable of switching between the sonic cinematic post-rockers of Nordic Giants and Tony Danza feels like chucking a grenade into a room and watching it explode – a mosh-friendly audience leaping at the opportunity to go apeshit.

It’s seven pm then, and normal doors open time for any normal gig. But this is Arctangent: I’ve seen ten bands already and Igorrr are only just coming on. And oh my god, Igorrr. They give one of the best sets of the entire festival – a thunderous onslaught of ‘Blastbeat Falafels’ that tear through AOTY-contender of 2025, ‘Amen’, with French composer Gautier Serre exploring the eternal battle between good and evil in as avant-garde a fashion as you can expect. It’s a never-ending wall of sound that feels spiritually unique and all-encompassing with a wholly eclectic set – able to drift between searing opera and gut-punching metal force. They have a ‘fuck it, let’s throw everything at the wall and see what sticks’ approach with extreme metal mixed in with opera and techno that allows the Arctangent crowd to eat up the metal with the appropriate fury of a master craftman at work.

After missing Maruja at Arctangent in 2024 and being completely bowled over by EP ‘Connla’s Well’ and album ‘Pain to Power’ – I knew I couldn’t resist a spell in the chaotic pit that shows you the kind of post-punk band that would play at Arctangent – don’t expect more traditional post punk outfits like IDLES or Amyl and the Sniffers – both at Outbreak in London at the weekend; but the jazz-riddled eulogy of Maruja’s music makes it a perfect centre-piece to be placed in between two big name acts – electric, majestic and triumphant in all its forms – ‘Look Down On Us’ encourages the crowd to brawl and a pit to open before the jazz brings the tempo down a bit, the rap-type beats almost echoing the punchier Kneecap but given a jazz-twirling swirl. The instrumentals, flows and breakdowns are top tier and the sonic inflections are filled with passion right from the off – a ten-minute saga of a song deployed in real force that just keeps going and going, Maruja refusing to bow to such a thing called convention. The dance between melting pot of pit-starting energy and swirling jazz is a match made in heaven; as Maruja craft a stranglehold as one of the most unique offerings on the entire lineup.

Day One headliner Chelsea Wolfe wraps up the day in style – her majestic slower, mystical approach bringing the tempo down after the fury of the pits to give a calmer launch day for the Thursday as we’re swept under her aura – ‘The Dark’ is one of the best albums of 2026 thus so far and to see much of it live with the aid of a brilliant crowd – one of the strengths of Arctangent is how respectful of the band everyone in the tent is - is a real delight – as Chelsea Wolfe is able to launch a commanding ode to her craft. New songs ‘Death is Not the End, the Dark’ and ‘Cold’ fit in seamlessly with tracks from ‘She Reaches Out to She Reaches Out to She’ and instantly pull you in across the board. 

Photo Credit: Jez Pennington

FRIDAY 21

The first band I make it down for is moksha, a side project of the brilliantly loud Ithaca who have recently ended their run as a band. It is immediately clear moksha are a different beast entirely – founded by Sam Chetan-Welsh, who is aware that for everyone there because he was in Ithaca moksha are very much not Ithaca, a spiritual guitar band that would almost be more at home at Green Man or End of the Road with their Beverly and Glenn Copeland covers mixed in with humour in-between sets. Yet moksha’s style suits Arctangent perfectly – an art rock collective that can spotlight debut single ‘Three Rivers’ that takes its name from the confluence of three sacred rivers in India where families come to immerse the ashes of loved ones and perform rituals connected with remembrance and comes up with the core DNA of the band. It is the hope of moksha – liberation, and that is the core founding pillars of the band that embrace emo, with math and a touch of jazz with a whirlwind of unique instruments that really make for such a different set.

We then get Windmill-scene favourites Ringlets next, abrasively brilliant with tracks like ‘Posh Girl Holds A Whip’ and ‘Ancient Gays’, and the cinematic brilliance of Civil Service who prove that not all Civil Services are entirely useless country wide, going through ‘These Cities are Ruins’ and ‘She Would Never Retreat, Their Negativity Just Made Her Stronger’ in spades – pulling almost entirely from Dark /// - another excellent record from 2025. The atmospheric flair is given emotional depth with enough vocals to prevent it from becoming a purely instrumental piece – but it’s a band that when you learn guests on the album included the likes of Overhead, the Albatross and Hidden Mothers it’s easy to see why.

You Win Again Gravity and Conjurer are the next two bands - You Win Again Gravity using this show as a proving ground for new album ‘Don’t Leave Me Here, Pt.1’ that encourages a cinematic storytelling that allows their songwriting to really shine. Tracks like ‘Character Arc’ and ‘Something Has to Change’ get the run out; the band tapping into post metal with a proggy melodic sense of awe that isn’t afraid to tap into hardcore, delving deep into the breakdowns that aren’t afraid to hold back. I really like Conjurer – and to see them again allows the black metal to come fully around is triumphant again after multiple festival sets in the past. It is unrelenting, propulsive energy that feels truly angry and alive. 

If you think you have seen mosh pits you have not seen a Heck pit before. I’m telling you this now in case they ever come back again because it is their final show again, tempted out of retirement for a throw of the dice at Arctangent. It’s amazing any of Yohkai’s construction is left standing by the time the brawl that Heck start is done – formed under the name of Baby Godzilla almost TWENTY years ago and returning for a swansong after bidding goodbye the first time in 2017. This is a band that has developed a reputation for chaotic shows and their only full-length album ‘Instructions’ allowed for them to burn brighter than Icarus with a short-lived but memorable stay that made sure anyone who saw them live would be talking about them for decades after they wrapped. Hardcore math rock allows for a force of sheer pandemonium with extreme noise that sees frontman Joe Rawson climb almost to the top of Yohkai’s construction – no small feat – before throwing himself off onto the clutches of as many big boys as he can find. The chaos really starts in full fashion and just does not let up – it is the most intense pit of the whole festival and arguably, of the whole year. No pit before or since will rival Heck at Arctangent 2026, mark my words.

Photo Credit: Derek Bremner

There is a rare overlap between both 2,000 Trees and Arctangent, both booked by James Scarlett, and Arcane Roots is that overlap, having played twice at Trees and once at Arctangent this means it is now the third time I’ve seen them in two months. And what a full force it is for Arcane Roots – whose prog math rock brilliance shine brighter than they have done; bombastic with a cinematic air of grandeur that really embraces the inner chaos driven nature of it all. ‘A Wave, Across the Sea’ tricks the audience into thinking it’s going to be a casual set and then all hell breaks lose with Arcane Roots unleashing full havoc – a run through ‘Heaven and Earth’ and ‘Melancholia Hymns’ is more than welcome; Arcane Roots prove their staying power as they celebrate those who were there – no matter what time they joined, just as long as they joined the Arcane Roots experience, that is enough. 

It is a quieter Friday for me; unconvinced by Primus – but I do have time for BRUIT <’s cinematographic post rock with the Toulouse quartet never being subtle in their approach: BRUIT literally means noise – and having written albums in mountains and recorded them in churches before; it shows you everything you need to know about their allure for insanity. It’s just pure chaos – conceptual and born on a desire and need to exist independently. It shows live – as they make the most out of a small tent, even if at this point in the evening the atmosphere is noticeably different as many people re here for Primus rather than the usual core bunch of Arctangent regulars – a very different vibe across the festival on this day in particular. It doesn’t change the fact that the crowd are lovely and warm, welcoming everywhere you go – and within less than half an hour of arriving in Arctangent’s field, you already come across plenty of friendly, familiar faces. I’ve been going since 2024 and it practically feels like a second home. No festival elsewhere exists that has the vibe that Arctangent has – and I count myself lucky to have experienced three editions at Fernhill Farm.

Photo Credit: Jez Pennington

SATURDAY 22

And so dawns the final day. The sun is shining and we’re here for the final ever day at Fernhill – switching locations to the lofty Todenham Manor Farm near Moreton-in-Marsh, as a result of the landowners deciding last year they no longer wanted Arctangent on their farm – we see it move for the first time for horizons new. And it is for Kathryn Joseph who kicks things off, a slower tempo arthouse fair that feels wholly mythmaking. The debut ‘Bones You Have Thrown Me and Blood I’ve Spilled’ won the 2015 Scottish album of the year award and it’s easy to see her talent deployed can elevate her to bigger headline slots. The punctual named ‘DEER.’ ‘WOLF.’ ‘ROADKILL.’ Are blunt but show you her thematic relevance, as she taps into newer record ‘WE WERE MADE PREY’ that feels like a culmination of her work thus so far over the course of her career with an entrancing, dark folk template that maximises the conflict between living things and the animal call of the wild. The accents vary and the dreamy lyrics almost have you in awe.

Jo Quail has played Arctangent before but is the first time she has brought the Crossbones ensemble in tow. She goes through ‘Butterfly Dance’, ‘Rex’, and the majestic ‘First Rain’ where she commands the audience to listen and the audience almost universally obeys. It is a spell being cast on the crowd with outstanding backing visuals that make for one of the best sets of the whole festival and a perfect pairing with Kathryn Joseph for a calmer but no less cinematographic feel of ‘Notan’ – that bridges the divide between metal and classical music in a way that few artists can and instantly makes a case for both genres being so much similar than they are – this feels like it inhabits in the same space as Wardruna and God is an Astronaut, and it’s easy to see why they’ve enlisted Quail to play with them in the past. I wonder how many of the Crossbones ensemble will return to Arctangent with as a loyal following as Quail has – she is truly one of a kind and to see her live is such a rare treat. For sets like Quail’s and Joseph’s it is why I return to Arctangent time and time again, and time and time again it has not disappointed one bit.

So naturally, the next act that I see is emo pop punkers itoldyouiwouldeatyou, all one word, all lower case, who bring comedy into the equation opening their set with jokes about both members being unable to look at each other because of their neurodivergence and then commentary on “autism? At Arctangent?” and it being more in common than you think – and it’s true, it’s a festival that’s a known heaven for neurodivergent people and a real welcome difference from the more commercially-driven events like All Points East that appeal to the masses.  Yet itoldyouiwouldeatyou lean into this commercial feel and create a fashion show for their merch mid set; and are as good as a comedians as they are artists. This lends us into nicely for the comedy variety hour of Arctangent with the legendary Jamie Lenman – who tore up Great Escape with an acoustic set earlier in the year, talks shit about Primus as diplomatically as he can saying that when he saw them they were bad but apparently they were good the night before – and takes time to praise Hang Linton, one of the most unique sets of Arctangent who is on just before with so much energy coming out of one man he’s made me an instant fan (check out ‘Radiator’ and ‘MAD DOG’) – and wows the crowd over.

Photo Credit: Carl Battams

Lenman argues that he is the first person to challenge James Scarlett for a lower slot on the festival billing than he deserves; and has the unfortunate draw of splitting the crowd with a Cult of Luna and Julie Christmas record signing but makes the most out of the huge audience that comes to see him by tearing up Yohkai. He dips into Reuben territory with ‘No One Wins the War’ and ‘Agony/Agatha’ – enlisting drummer Luke McDonnell from Los Skeletos to stand in on drums after discovering him through a book launch event. There’s time for the new material – ‘You’re Nothing’ comes for the transphobes and those who make the world a scarier place – and the plea of unity of ‘All of England is a City’ ends the night only Lenman can. Much of what comes before is comedy gold: a whole song dedicated to watching a film on TV that’s shit and being distracted by the characters watching a better film on TV that you’d rather be watching instead in a tongue in cheek, fearless way that no other artist is capable of. 

Chat Pile come next and I saw them earlier in the week in London at Bush Hall and they keep up the energy and the crowd flow going; Ray B launching into high tempo that doesn’t let up across the board. New single ‘PEN I SMALL’ sums up Chat Pile’s humour in one song; using a catchy name to have a go at an old manager at a minimum wage store job and also use much of the set to go for AI and how none of the band members ever have or ever will use it. It’s inspirational stuff – politically relevant and charmingly on the money. The ferocious noise rock riffs craft a unique spell on the crowd and it’s fun to watch Raygun’s love letter to festival movies, sporting Woodstock among others as name-drops and giving you updates on what he’s reading allowing the crowd to come down. 

Eivør come next and the Heilung sound drenched in techno is impossible to resist; the band having travelled among the furthest to get here from the Faroe Islands. She has a love-letter to Faroe culture and the visuals create such a stark imagery it feels appropriate not to be cast under a spell – very befitting in its own right that towards the end; the theme song from the brilliant tv show ‘The Last Kingdom’ is deployed to a welcome reception from the crowd – and you couldn’t have asked for a more emotional moment than this song being deployed so near the end of the entire festival. It extends beyond its means – creating an ode to Fernhill Farm being the last kingdom, and it really becomes apparent that this is it and we’re never coming back here as the hours end and the night gets colder. 

But oh my god. What a send-off. What a send-off. After the majestic A.A. Williams; embracing gothic sorrow in such a way that rivals Chelsea Wolfe (no wonder she is chosen as support for a Kentish Town headline show in December, we are drawn back to a rare, one-of-a kind this will never happen again type moment of excess: Cult of Luna and Julie Christmas performing ‘Mariner’ in full; for your ears – it is triumphant, it is earth-shattering and monumental. The post-rock wall of brilliance is a run through of five songs that celebrate ten years of this album in its own right – you know the setlist, it’s an album show – ‘The Wreck of S.S. Needle’ and ‘Cygnus’ are just perfect ending songs that you get to have a spin of in its rawest form – a real grand-standing ovation of a curtain-closer that many festivals would only dream of booking so catered to them exclusively that capture such a massive appeal (I mean, can you imagine ‘Mariner’ at Reading and Leeds?). One of the most adorable moments of the night was watching a new father put a young child on his shoulders and declare “this is my favourite album of all-time, I’m so happy you get to experience this with me,” and I instantly know that deep down, I will never be as cool as the kid that is getting raised on ‘Mariner.’

Photo Credit: Jez Pennington

So, farewell then, Fernhill Farm. Goodbye the old, in with the new. It will be a case of meet the new Arctangent, the same as the old Arctangent, we’ve been assured, but there’s something final about this night that won’t ever be taken away from us. 

Words by Miles Milton-Jefferies