Growing up around the most pivotal influences in the industry, singer-songwriter Violet Grohl has taken it all as second nature while preparing to take to the airwaves herself. First giving a taste of her talents at the beginning of 2026, she is ready to release her debut record and show everything she has been working on in her young life: enter Be Sweet To Me.

Picking and threading sounds and styles from all around the musical spectrum, Grohl displays her internalisation of old-school punk in the opening track “THUM”. Letting the music speak more for itself than her vocals, it’s an exceptional introduction; allowing for punchy lyrics, screeching riffs, and a welcome to a journey of self-discovery and self-assurance. It is a fitting asset of the record and allows the steady flow into the follow-up “595”.

"595" is a sexy smooth vocal storm with a classic alternative rhythm; a short story with a deep intimate impact. Inspired by phone sex culture, it brings on a new-age level of confidence and sexual reassurance that's reminiscent of the evolution of feminism in the 1960s and 70s. Rock as a genre has been used in recent years to allow female artists to empower themselves through their sexuality and sensuality, and "595" is just a new episode in that ever-growing season. With a natural snarl in Grohl's voice and dominance in her self-penned sentences, it's a standout track for Be Sweet To Me. It doesn't just sell on sex, but sells on independence, autonomy, and high self-esteem.

Further within the record is the lo-fi tinted ballad of "Mobile Star". Inspired by the softness and cosy nature of 80s pop, this is a song that uses gentle ringing and background static to highlight the lullaby-like style of singing Grohl is presenting. A three-point-five-minute long tune that takes a break from the gritty guitars, thundering drums and injected venom in-between, and strips it back to what is one of the most heartstring-pulling, soul-snatching, tongue-tangling tracks that this young newcomer has brought onto her debut.

A debut record is one of the toughest releases an act can bring out, as it's the first full opportunity to seize all on one's own and have a choice of tracks to fill it to give a first impression of who they are, what they are all about, and what they wish to bring to an always-evolving ever-creating industry that will make them stand out among the rest. Be Sweet To Me was Violet Grohl's introduction to the wider audience of the music world, and with the variety she has brought to it, she has made it clear what she is after and what she wants to tell everyone. She is headstrong yet in tune with her thoughts and emotions; someone who can break the walls down but build defence if she needs; someone who has seen so much in such a short life, and has rolled with every punch so far to make it to this point.

Seeing the record out with the therapeutic near-bare "Pool Of My Dreams" and acoustic-to-electric grand finale of "Plastic Couch", Grohl has achieved what she hoped to. She told her stories, brought her soul to the forefront, and with bringing her own individual flavours to the masterpiece, she also gave tribute to the ones who came before her. The ones who made ran a path to allow fresh blood like herself to walk. She's even pleading for understanding and acceptance in the title.

Be Sweet To Me is not just telling the world about herself, it's asking the world to give her just one chance.

Words by Jo Cosgrove

Desertfest provides a heaven for any stoner rock fans with some of the best curated music in the entire scene; featuring mammoth headline sets from newly tipped metal icons Green Lung and old guard Clutch; you’ll rarely see the Roundhouse bouncier.

In terms of a divisive weekend – both politically; and sporting, with separate marches from both sides of the political spectrum and an FA Cup Final between Manchester City and Chelsea both happening in London on the same weekend; you’d be forgiven for thinking that Desertfest’s organisers might have picked the wrong weekend. But I’ve rarely felt more welcoming in the corner of Greenland Road that is taken over for the weekend; adorned with Bristol-sponsored beer; tattoo walk-ins, and record/merch labels. The metal tees, battle jackets are out en force – confusing the Camden tourists. This is the setting that Desertfest; a takeover of the Dev, the Black Heart; Underworld, and of course, The Roundhouse, finds itself in.

Day One is reserved for bands like Cwfen, Witchsorrow, Gnome, Hermano and Moloch to take their stage at these venues – the action remains at the Electric Ballroom for the opening day, and it quickly becomes apparent that if you want to get into any of these acts in the smaller Black Heart and the Dev you have to be there for the act before – which speaks to Desertfest’s success story that it has now outgrown the capacity of many of the traditional metal venues that adorn Camden (if Camden Assembly isn’t considered as a venue for next year; Desertfest are missing a trick). The Roundhouse is just the right size for giants like Green Lung and Clutch; but stick someone like Ian in the Dev; and they’re queuing around the building preventing anyone from getting in. Thankfully; Ian are loud enough that we get a bit of their set from outside – it’s powerful; and the East London quintet make their presence felt in the post-rock scene. They’re playing at Arctangent and there’s a lot of crossover between the two festivals – I saw Green Lung there last year for one, and that means a festival like Desertfest is going to be right up my alley every year. 2025 was special; with the likes of Amenra, Conan and Pallbearer – 2026 no different. 

The weekend kicks off proper by the time we get to the Roundhouse for Elephant Tree. Their gloom and despair of an atmosphere sets the town; but they find room for joyous occasion and mix in some head-boppers that get the crowd moving. The psychedelic doom rock outfit are in a mood to create a party and here to have a good time. It’s a marriage celebration for one of the members (whose wife is in the audience); and a birthday party in one. The band joke that birthday boy Peter Holland is in his twenties; but whilst those days may be gone – to their credit; Elephant Tree have more energy than most 20-something bands; able to pull off a hell of a stage presence and get the heads of the Roundhouse banging. The vocals echo early Pink Floyd and that’s no small counterpart – progressive psych at its most unstoppable and triumphant with music designed to ascend to the heavens when you’re listening to it; the set drifts into psych at times and it’s instantly easy to fall in love. By the time we get to 2016 release ‘Aphotic Blues’ – Elephant Tree have a packed-out Roundhouse that are headbanging along. Hollands’ bass with signature vocals add a layer of depth to the mix, working with Sam Hart and Jack Townley as two of the founding members still alive and kicking. They can draw out such raw emotion that almost bring the audience to tears. As last-minute replacements for Church of the Cosmic Skull go – Elephant Tree is some going.  

Second act on is the mighty Pigs Pigs Pigs Pigs Pigs Pigs Pigs, who will be referred to; as they often are, by Pigs x7 for this review – and they have plenty of people in the pit chanting ‘Pigs’ during the downtime. It’s a band with a loyal following who can genre cross with ease – last time I was at the same festival they were; it was Mutations, supporting Lambrini Girls in Brighton. This time – at the Roundhouse; they’re back in their wheelhouse. From the moment the Newcastle band come on stage – everyone present just goes fucking nuts and it’s hard not to resist the pull of the mosh. One of the safest of that size I’ve ever been in, and one of the sweatiest – their pull is irresistible and the constant build keeps the crowd energised. It’s psych rock with heavy metal; mixed in with a tad of noise – arguably a contender for one of Britain’s most exciting heavy acts to emerge in the last decade. There are touches of Deafheaven here – more diverse and have early Mastodon energy to match. One thing’s for certain: pure, unadulterated chaos is on the agenda for the evening. 

They pull from ‘Death Hilarious’ and ‘Land of the Sleeper’ for the main bulk of their set; with 6 songs taken the 2025 release that feels like pure sludge metal of the best kind. It allows for a ridiculously inventive battle-ready war-cry, showing their sonic range that translates perfectly live. ‘Wyrm’, as a set opener, makes the tension palpable in the room as it almost acts as a form of rage-induced catharsis. They are a band that have that power to make you feel surrounded by familiar faces; friends and family alike even though you’re in a room of complete strangers who you’ve never met before; as everyone in the pit is warm, hugging, welcoming – when crowd surfers go down, they’re pulled straight back up again; in venues of this size; the atmosphere is rare to see everyone operating on the same wavelength. As shows go Pigs x7 lead a celebration of one thing and one thing only: sheer noise. The euphoria for a lead-in is hard to match – and their range means that one second; they have touches of Sunn 0))) and Electric Wizard, the next, Black Sabbath – a lot of Back to the Beginning tees are worn in the pit – in full flow that ramps up their amps to the maximum volume possible. Anyone without earplugs is feeling it by the end of the night – Pigs x7 are that kind of band. 

Saturday headliners are hometown heroes Green Lung who have much of their roots in British folklore and are stalwarts among the iconography of Stonehenge and the druids of old. It adds a touch of mystique to them that makes them different from almost any band – and it’s such a tall order for Green Lung to follow that you almost wonder whether they are capable of matching the sheer proweress of Pigs x7. Luckily; any doubt is quashed from the moment that frontman Tom Templar steps foot on stage – this is pure flamboyance that showcases their status as deserving as not only the future of metal but also worthy of that first headline slot: occult witchcraft in pure Black Sabbath mode: elevated to headline status by a forward-thinking festival that would rather introduce fans to the next generation of metal rather than chase past glories. You either get bands like Architects who have failed to capture the headline status afforded to them with an undersold 02 act and then being bumped back down to second billing behind Korn less than a year later; or you get Green Lung – who are on the bridge of an explosion that make you question whether or not come December and the new album the Roundhouse return will be too small a venue for them. 

Songs that the fans love and adore are all there ‘Maxine (Witch Queen)’, ‘Woodland Rites’ are there; mixed with the final song: ‘Let the Devil In’ that goes all out into chaos that twinkle in the starlight like a band that’s best watched at midnight in a cloudless sky; say – at Stonehenge, where a similar monument adorns the iconic Roundhouse wall. The images drenched in folklore history set the mood – new single ‘Evil in this House’ goes down a storm when deployed early on; and the way Green Lung through the set with such a strong start shows that they’re really ready to take their stage to the next level. The riffs are fast, heavy and epic – and the romp of ‘Maxine (Witch Queen)’ allows the band do go full theatrical with it. It’s rare that you’ll see an outfit so committed to their mythology and iconography that makes them different and that is what metal as a genre needs right now: something like Green Lung to give it a shot in the arm; a new generation of a headliner that will follow in the wake of Sleep Token’s rapid-fire explosion. Their Arctangent set in 2025 was magnetic and alluring; their meteoric rise unquestionable; the small fields in Somerset their natural home. They’ll be back: and next time as headliners.

Day two takes our lessons learnt from the queue chaos of the first two days and we’re able to apply it to make it into Panama-originated outfit Alphawhores, who bless them, didn’t expect an at-capacity Black Heart for their soundcheck. The central American outfit are unique for their country – their massive riffs allow them to really make a tone in the way that backs up their striking imagery – promo art looks like they’ve stepped off the poster of 2019 film ‘Monos’ – by Alejandro Landes. Their parallel breakups and jamming in 2021 has led them to a louder band than what they have had in the past and it’s shown on stage – a doom atmosphere that benefits from a meticulous rhythmic approach and snarling riffs to back it up. There are echoes of Melvins and Baroness here in their approach and songs like ‘House of Doom’ and ‘Pirate Mode’ really allow them to flex their stuff for those who make the effort to risk avoiding the lure of the big acts on at the Roundhouse. 

Of course; naturally; it being Desertfest, we can’t resist the pull of the Roundhouse for long and make our way up for Truckfighters. The two-man Swedish outfit never run out of fuel and are a legendary band that get their energy live and their heart in the right place. They are debuting 2026 album ‘Masterflow’ but have enough of the old hits to keep the fans happy; and like yesterday, the mosh energy is electric and it’s very much the same people involved giving it their all. Like their new album their live set remains unpredictable and you can never guess where they are going to go next; but one thing’s for sure – the energy is off the charts. Oskar “Ozo” Cedermalm embraces the cosmic melodies with a sense of rawness that flesh out the band’s work with its exciting riffs that will change the sheer mind of anyone present. ‘Carver’ is a highlight of the album and it’s a highlight of the live set – layered in there with a mix of psych to keep the stoner rock elements fresh and exciting and that’s reflected in a live set that never comes up for air.

The Sword are the penultimate act of the weekend and for a Sunday night; you’ve never seen the Roundhouse bouncier. With over 20 years of existence under their belt they are practically royalty in the heavy rock scene and people at the barrier have been camping out all day to see them. This whole weekend is bands showing how much the riffs can add to a scene: and this magic ritual of swagger and confidence has seen them get where they are today. It’s a unity of the night and the dark – dropping choice cuts of ‘Cloak of Feathers’, ‘Maiden’, Mother & Crone’ and more, and with the enthusiasm reflected in the room they are capable of making sure that just when you think they have delivered all they have – new tracks are played in. The slow move makes you think you might avoid a mosh: BUT the pace accelerated and by ‘The Night the Sky Cried (Tears of Fire)’, things are in full effect. It’s purely dynamic, mesmerising brilliance that few bands with the long-lasting pedigree of The Sword can offer and it’s easy to see why they have a devoted fandom that follows them everywhere throughout the years.

Finally; closing out the night, the energy somehow gets bouncier and rowdier for metal icons Clutch. Each headline set runs from 9:30 to 11, so it’s a full blown set – much more daunting a prospect than earlier in the day, but Neil Fallon dares the audience to not care about the fact that it’s a Monday and throw caution to the wind. They oblige. Obviously the hit is ‘Electric Worry’, but there’s more than that to the stoner-rock icons – who have been around since 1991 and show everyone tonight why they have earned that reputation. It’s pure chaos from front to back; side to side of the Roundhouse and the sheer high-octane energy gives you arguably one of the best shows you’ll have seen. Foot-stompers shackle and rattle the surface of the Roundhouse and the encore has them in overdrive for the night – they seize the crowd by the throat and keep them in a trance. Jean-Paul Gaster’s drums are tight, focused and the rhythmic section is a masterclass of tension – delivery theatrical without loading into parody. Fallon’s vocals and stage presence allow him to act like preacher to a choir – every lyrical flourish feels deliberate and well performed. It’s a band that have plenty of time to refine themselves on stage and it pays off – capable of hurling a live grenade into the room and igniting the atmosphere in a way that just doesn’t let up.

I expect many in that room will be tired; exhausted, and quite possibly hungover on the trek back into work the following day – but for everyone who went for the whole three days; every stoner-rock fan who went for all three days; it’s the experience of a lifetime that they won’t easily forget. Same again next year Desertfest? Yes please. 

Words by Miles Milton Jefferies

From heartbreak to euphoria, Bleachers have made their masterpiece.

Described by The New York Times as “anthemic” and “life-affirming”, Bleachers return with their fifth studio album, everyone for ten minutes, and it is every bit the record you would hope for from a band operating at the very peak of their powers. Fronted by thirteen-time Grammy Award-winning artist Jack Antonoff, the band have built one of music’s most passionate fanbases across four studio albums, culminating in a sold-out world tour that ended with their largest headline show to date at Madison Square Garden. The bar, then, could not be higher, and to be honest, they clear it with ease.

The album opens with ‘sideways’, a dream pop introduction that washes over you in blissful waves of synths. There is an air of somberness to the intro before the track explodes at the midway point, weaving a wailing scream into a cascading sound of drums, horns and synths galore. It catapults you into everything that follows. ‘the van’ arrives like a slow Beach Boys cut, classical in its opening before the drums flesh it out into something more grandiose and entrancing. The melody on the hook is brilliant, with the peculiar use of an accordion being the cherry on top.

Things get even more interesting on ‘we should talk’, where a distorted, glitchy bassline laces the instrumental and the peculiar guitar work adds a sense of unease that perfectly mirrors the time-sensitive feeling of knowing an awkward conversation is approaching. The keys towards the end and the climactic outro make it the best track on the album so far, signed off with a FaceTime call that is a neat nod to the song’s title.

Lead single ‘you and forever’, accompanied by an Alex Lockett visual featuring Margaret Qualley, feels more spacious than its predecessors. The drums tease an explosive chorus whilst retaining a subdued magical potency, before the final minute delivers an emphatic and dramatic expression of frustration. ‘dirty wedding dress’ follows with Americana flair, Jack‘s whimsical vocal delivery echoing Bob Dylan but with considerably more flair, while ‘take you out tonight’ throws you into what sounds like the middle of a wedding ceremony, the saxophone arriving as one of the album’s great musical moments. The line “so come on Bleachers” feels like a window into just how much fun this band had making this record.

The album’s emotional core arrives with ‘i can’t believe you’re gone’ and ‘dancing’, two of the most intimate moments on the project. Both deal in loss and heartbreak with a softness that is uniquely Bleachers. ‘she’s from before’ and ‘i’m not joking’ ease the album back into more uplifting territory, before closer ‘upstairs at els’ brings everything to a celebratory and fittingly emotional conclusion.

Bleachers sound better than ever & so secure in their musical identity. everyone for ten minutes is a reminder that the smallest moments are sometimes the ones that end up meaning the most. Jack Antonoff’s work across music this past decade cannot be understated, and his work with Bleachers is where his sheer talent shines brightest.

Words by Alex Peters

A man who has spent years singing for the people walks back into the room, looks them in the eye, and reminds everyone including himself that there is still time. 

There is a particular kind of songwriter who doesn't write about life so much as live it out loud and then hand you the bill. Jamie Webster is one of those. The Liverpool electrician turned folk hero turned arena-filling national treasure has built his entire career on the radical act of telling the truth plainly, and "Just Begun," the opening single from his forthcoming fourth album Running Round The Sun, is perhaps the most personally honest thing he has put his name to yet.

What strikes you first, watching the release, is how alive the whole thing feels. It has the texture of a live performance captured rather than a single manufactured, Webster interacting with the room before the song even starts, the crowd already in it with him, faces close to the camera, reactions unguarded and warm. The instruments don't sit in the background here. They are clear and present enough to feel like voices, each one saying something distinct, the guitars carrying something hopeful, the rhythm section grounding everything in the real world where the lyrics live. Webster himself is aware of the camera throughout and yet never performs for it. He just plays, and lets you watch.

"Maybe I lost my way / I'll get it back one day / I've still got so many years of running round the sun / I've only just begun."

The lyrics are where this song does its most quietly radical work. Webster has always been political but here the politics are filtered through something more personal and more vulnerable. He watches Always Sunny because nothing else is on. He sees his old friends becoming parents and hardening into their opinions. He clocks that whoever runs the country seems much the same regardless. These are not grand observations. They are Tuesday evening observations, the kind you have in your kitchen while the kettle boils, and that is precisely what makes them land so hard. As a musician, I know how difficult it is to write something that sounds this unconstructed. The craft is in making the seams invisible.

Then the chorus opens everything up. The shift from "I" to "you" to "we" across its three iterations is one of the most quietly considered structural moves in a Webster song to date. He starts with his own doubt, extends it to yours, and by the final chorus it belongs to everyone in the room. "We've only just begun." It's communal in the way his best work always is, but this time it feels earned through genuine reckoning rather than rousing instinct. The Glastonbury line, the ale, the warlords in jail, the dreaming and the believing, it all sits together without contradiction because Webster has always lived in that space between righteous anger and uncomplicated joy.

Coming off the back of playing to 32,000 people in Liverpool and a UK Top Five album in 10 For The People, deliberately choosing intimate venues for the Running Round The Sun tour feels like the same impulse behind this song. A man stepping back not because he has run out of things to say but because he wants to say them properly again, up close, where people can actually hear. "Just Begun" is the sound of that decision made into music. It is wholesome in the truest sense of the word, not soft or unchallenging, but whole. Complete. Still believing.

Jamie Webster at his most open and his most assured at the same time. A song that takes the weight of a decade's worth of ambition and distills it into something that feels like a conversation with a mate who has finally figured something out. The bell hasn't been rung yet. Not even close.

Words by Dhriti Duggal

If longing had a flavour, it'd be watermelon and heartbreak and Cigarettes After Sex know exactly how to serve it. 

Nobody does slow-burn yearning quite like Cigarettes After Sex. Greg Gonzalez has spent the better part of a decade building a world so specific and so atmospheric that stepping into a new song feels less like pressing play and more like being handed someone's old photograph. You don't know whose it is. You feel it anyway. Their latest single via Partisan Records arrives quietly, the way all their best songs do, and settles somewhere behind your sternum before you've even realised it's moved in.

The title is a deliberate provocation. "Twizzler." There is something almost comedic about it sitting alongside "Apocalypse" and "Nothing's Gonna Hurt You Baby," but Gonzalez has always trusted the small and the mundane to carry enormous emotional weight. The candy becomes a sensory anchor dropped into a scene of summer heat, open-air cinema, and a promise made in light that makes everything feel eternal. It's so specific it almost hurts.

"Kiss so hot / Lips to a Twizzler in the summer sun / Outside in the Cinerama Dome, you swore I'd be the only one..."

As a musician, I've sat with their records trying to figure out exactly where the feeling lives. It's the guitar tone, soaked in something warm and left to dry in late afternoon light. It's Jacob Tomsky's drums, which feel more like a slow exhale than a rhythm section. It's Randall Miller's bass anchoring everything like a hand on your shoulder. And it's Gonzalez's voice at the centre, never straining, never performing, just telling you something true at a volume that asks you to lean in.

The chorus gives you six words repeated until they stop being words entirely. "I love the way you made me feel / And I don't care why." The "I don't care why" is the key. It's not apathy. It's surrender. Gonzalez doesn't try to explain the emotion or anatomise it. He just hands it to you whole and trusts you to hold it carefully.

This new single is not trying to be a statement. It arrives while the band are selling out arenas across three continents and racking up streaming figures that place them in the company of Fleetwood Mac and Queen, and yet it sounds like it was made in a quiet room by people with nothing to prove. A song about a night that mattered, written by someone who still feels it. That restraint is its own kind of confidence. Not every band that fills the O2 still knows how to whisper. Cigarettes After Sex have never forgotten.

The song is Cigarettes After Sex doing what they do better than almost anyone else alive. It is unhurried and precise and quietly devastating. A song built from specific memories that somehow becomes everybody's. Put it on somewhere you can actually listen. It deserves that much.

Words by Dhriti Duggal

Twenty years ago, the very first edition of The Great Escape festival was held in Brighton, kickstarting two decades of unrivalled musical discovery. In the intervening years, the new music extravaganza has shone an early spotlight on an extensive list of future stars, with the likes of Adele, Ed Sheeran, Raye, Charli XCX and Fontaines D.C. all playing at the start of their careers.  

Joining a large percentage of the semi-mythical Music Industry, we returned to Brighton’s fabled shores to catch the next wave of artists in ascension.  

Like last year, we start our four-day delve into what’s next on the familiar pebbles of Brighton beach. Unlike last year, it’s absolutely pissing down. Huge gusts of wind from the crashing sea make it a bold choice to join the queue for buzzy math rock duo Angine de Poitrine, and that’s before it starts to hail. Nonetheless, by the time the storm clears a large line has formed, reflecting just how hyped the enigmatic French-Canadian duo have become in recent months.

When we finally make it into the Deep End tent, it’s already rammed, though that doesn’t stop a seemingly never-ending number of people piling in. By the time the band take to the stage, it truly is like a tin of sardines. Walking out to huge cheers from the crowd, the masked duo inevitably make a visual impact, with their polka-dot costumes and extensive head gear making it look as though Inside Out’s Bing Bong merged with Mr Blobby in some sort of psychedelic experiment gone wrong. Not to mention that when they do occasionally ‘speak’, it sounds like a Dalek without a dictionary. Oh, and their triangle shaped ‘eyes’ sporadically light up yellow. You’d be forgiven for thinking you’d accidently walked onto the set of a sci-fi movie, but no, this is a gig, although not a traditional one - at least as far as festivals go. 

Aside from a gurgle here and there, the set is entirely instrumental. Luckily, the musicianship on display is interesting in and of itself, even if the actual music won’t be for everyone. At once intricate and hook-laden, dynamic and repetitive, it’s a fascinating study in how much two extremely talented musicians can achieve in a live setting, with bass loops acting as the groundwork for increasingly complex guitar parts and precision drumming. At any other festival in the UK, it’s hard to say quite how this would be received, but here at Brighton’s tastemaker showcase the audience are, for the most part, utterly enthralled. 

Unsurprisingly, Angine de Poitrine have amassed a dedicated cult following, and the fans show their appreciation by making a triangle with their hands, mirroring the band’s signature gesture. Some even go so far as to gurgle back to the pair in their own brand of gobbledygook. It’s a weird and wonderful start to the festival, and a timely reminder that at The Great Escape, anything goes.  

Thursday begins with a very different but equally provocative experience. We descend into a dark and relatively full Komedia Basement at 1pm, just as Australian punk-rapper Mudrat is being introduced. Wearing a white t-shirt emblazoned with red lettering that spells ‘Kill All The Billionaires’, it’s immediately obvious that this will be an incendiary set. 

Backed by crunchy riffs and pounding drums, he spits out impassioned rebuttals of wealth inequality and political corruption with a venomous velocity, before his drummer takes things down a notch with a surprisingly melodic vocal performance. It’s not long before we’re back in the mixer though, Mudrat peppering the set with socio-political statements which give extra context to the punchy songs on display. It’s uncompromising stuff, pairing nicely with our first pints of the day, and waking us up with a welcome jolt.

There’s more energy in store for us at The Prince Albert, the beloved multi-coloured pub which is home to Banksy’s famous ‘Kissing Coppers’ stencil. We manage to squeeze into its packed upstairs venue as Cork City five-piece Babyrat soundcheck, much to our (and their) amusement. Once they’re off, however, there’s no stopping them. Lively frontwoman Zoe Callanan is a hugely entertaining presence, bouncing around the stage as her bandmates provide tight, driving rhythms. Lyrically, her witty tales of love and rejection recall the likes of Olivia Rodrigo, and the band have certainly taken inspiration from Rodrigo’s smart update of 90s & 00s pop-punk. It all makes for a rather electrifying set, with an orchestrated singalong and earworm finale (the unreleased ‘First To Know’, which already feels like a classic) leaving punters on a high as they filter down the steps and out onto the damp streets of Brighton. 

We jump straight in a cab to catch the end of Japanese MC-rock duo EMNW at Revenge, who have the place jumping with their high-octane mix of rap and nu-metal. After a quick lunch break (Tapas, since you’re asking) we walk down to seafront nightclub Quarters, only to find a large queue that shows no sign of shrinking. Our fellow festival goers quickly inform us that the venue isn’t letting anyone in yet, while the sun finally starts to peek through the clouds, as if to celebrate the fact that we haven’t missed rising Argentinian rockers Pacifica. The start time comes and goes, and just as everyone is wondering whether to cut their losses and move onto one of the nearby venues, three people rush up to the door, explaining to the bouncers that they’re meant to be performing. Two minutes later we’re in, another two, and Pacifica are reminding us exactly why we waited.  

Originally formed as a cover band - after internet friends Inés Adam and Martina Nintzel met in real life to share their love of The Strokes - Pacifica built their following covering noughties indie classics, before releasing two albums of original material. That garage rock spirit is clear to hear as the duo (accompanied by their drummer) launch into their set under smoky blue light.

Adam’s guitar playing is casually kinetic, all bright, propulsive chord work, while Nintzel’s bobbing bass style perfectly complements each song. The two trade vocal duties, keeping the set dynamic despite every track drawing more or less from the same well. Thankfully, that well is effortlessly melodic, with a lightness of touch that keeps the crowd grooving, not least during disco-stomper ‘Indie Boyz’, a vintage floor-filler which nods to Arctic Monkeys’ ‘Old Yellow Bricks’. 

The next track ‘Fixer Upper’ is so Strokes-like that it’s almost a surprise Casablancas and co didn’t write it. Indeed, these two friends from Argentina have mastered the indie sleaze formula where many NYC wannabes have failed. They may have begun by just wanting to be one of The Strokes, but Pacifica are a band who will surely inspire devotees of their own. 

After that it’s a 10 second walk to Players, where Peterborough lad Raynor delivers an uplifting set of simple-but-effective indie pop tunes, before we make the trek to Brighton’s end-of-pier bar Horatios to catch self-proclaimed cool girl Lynnie Snow. With a striking look reminiscent of Debbie Harry, Snow immediately captures the crowd’s attention, compounding it with a selection of songs which are as offbeat as they are beautiful.  

Next up is enthralling singer-songwriter Ava Joe, bringing her chic, atmospheric style to Patterns’ upstairs space. Taking to the stage in an elegant red dress, Joe is clearly inspired by the glamour of old Hollywood, and those nostalgic sensibilities also make their way into her music. ‘Black Smoke’ finds her bandmates re-purposing the iconic James Bond chord progression while she sings -in a delicate voice dripping with drama - of a dangerously intoxicating relationship. It’s easy to imagine her rising to the challenge of a Bond theme in 10 or 15 years, though that’s not her only speciality.

‘Lost In The Woods’ has more of a freewheeling Woodstock vibe, while closing number ‘Try Me’ has the sensual swagger of Amy Winehouse’s ‘You Know I’m No Good’. Perhaps the most appropriate comparison, though, would be Lana Del Rey. Joe shares the Californian singer’s love of melding vintage moods with a more modern sense of melancholy, leading some to dub her as a UK Del Rey. Whether Ava Joe can break through to that sort of chart-topping, stadium-filling success remains to be seen. Judging by the mesmerised audience, however, it’s a career trajectory that’s very much to play for.  

In a screeching change of tone, we then rush down to nearby nightclub Volks to catch the tail end of Australian-born, Greek-raised hard rockers Frenzee. As usual at the Great Escape, rave central Volks is now the go-to destination for rock, punk and metal lovers. Frenzee combine elements of all three genres with a ferocious energy, exemplified by their exceptional lead shouter Apollonia, who stalks the stage while her brothers Nikos and Adonis provide filthy riffs and pummelling percussion. 

When Apollonia announces that they’ll be playing an unofficial gig at Brighton’s legendary Irish bar Fiddlers Elbow at 12:30 am, we rejoice. If ever a band was destined to smash beyond the confines of official limitations, it’s Frenzee. Before that, though, we have a couple more acts to discover, so we head to the Waterbear venue to wind down with the slick confessional pop of Lily Moore. Afterwards, it’s up to The Green Door Store for Canadian hardcore punks Piss -although getting in to see them proves near impossible. 

Even after making it in the venue, the queue to get into the actual performance space stretches to the bar, and though we do eventually get to the very back, it’s hard to experience the band in the way they must’ve intended. What is clear is that they’re passionate about what they do, and all the more popular for it. More power to them, but for us Thursday’s true crescendo is a riveting second helping of Frenzee. Unleashed in a crowded Fiddler’s Elbow, the trio are utterly exhilarating, facilitating makeshift mosh pits and audience crowd-surfs as Apollonia snarls her way through a set of pure, unfiltered firepower.  

Frenzee are every bit as impressive as the awesome Amyl and the Sniffers - who of course have gone on to achieve significant mainstream success from similarly DIY beginnings - so to be there, deep in the mix as Apollonia ends the show with a triumphant closing crowd surf, feels like lightning in a bottle. Not a bad way to conclude our first full day at the festival.  

Perhaps unsurprisingly, Friday gets off to a relatively slow start, as we recover from our hangover with copious amounts of tea, chocolate and Frasier. When we do make it out mid afternoon, it’s straight down to Komedia to check out the hotly tipped Heidi Curtis. As we head down the stairs into the dark glow of the basement, it becomes clear that we’re not the only ones who have heard good things about Heidi. The room is heaving, and Curtis matches the sense of anticipation by making a big entrance after her bandmates have already assumed their onstage positions. With her ruffled sleeves and flowing curly hair, Curtis looks like she’s stepped straight out Fleetwood Mac, which is fitting as her music sounds like an amalgamation of the 70s rock icons and Florence + the Machine - also fitting, as Curtis will support the indie favourites on their Irish dates next month. 

Like the titular Florence, Curtis possesses a powerhouse pair of lungs, switching from understated falsetto to commanding chest voice with ease. And that’s to say nothing of her songwriting prowess, which is of the very highest calibre. Closing song ‘Come Undone’ is so tightly written and performed that it feels like an understatement to call it a future classic. Like Curtis herself, ‘Come Undone’ is ready for the biggest stages, right now. As the extensive audience filters out into the light, everyone seems to share the opinion that what we just witnessed was truly, truly special. Distinctive, spiritual, and anthemic, Heidi Curtis is a fully formed star who seems destined for the Pyramid Stage.  

It’s back to Patterns next, though this time we swap out the airy upstairs space for its grungy downstairs counterpart. The room is about half full, though its smaller size makes it feel pretty busy, which is just as well, as German punk Lina-Mariah hasn’t shown up to exchange niceties. Starting out with a selection of upbeat pop-punk tracks, Mariah, backed by her drummer and guitarist, is full-throttle from the off.  

About four songs in, she takes things down with a quiet number that shows off how just capable she is as a pop singer, her emotive voice cutting through Patterns’ pint-stained purple hum. As if to solidify this, she holds the mic by her side, relying on pure projection to get her vocals out to the crowd. It’s a neat trick which has everyone leaning in, listening intently when... BAM! We’re shoved back in the mixer by forceful drums, grinding guitar and - most significantly - a side to Mariah’s voice we haven’t heard yet. 

Suddenly it’s not talky and tongue-in-cheek, nor clean and delicate, but harsh and angst-ridden. Mariah takes us into this electrifying new section of the set with aplomb, switching effortlessly between finely tuned pop refrains and brutal, confrontational outbursts. All this is wrapped up in the melodic pop-punk sensibilities of before, combining to create a sound that is undeniably addictive, and dangerously alive.  

Her lyrics, too, are vivid and uncompromising, with tracks addressing her psychotic mother and severe mental health struggles. Having said that, there’s a warmth to her performance which makes these songs a lot of fun to listen to, in a blackly comic kind of way. She’s also mastered the art of crowd interaction, telling us that she forgot to bring her passport, and was only allowed to stay in the country after officials saw her Great Escape confirmation letter! 

She’s not afraid to get serious, either, prefacing her final song with the context that she wrote it to help her cope in the aftermath of an attack, dedicating the track to all women and girls who have suffered at the hands of men. It’s a powerful moment, and the song in question - last year’s ‘Girl With A Gun, Angry’ - feels all the bolder for it. Beginning with hushed vocals before exploding in a cacophony of screams and guitar, it’s ridiculously catchy, but also suitably nerve-shredding. Concluding with the kind of guttural scream which can only come from deep in the soul, Mariah ends the set having totally won over a largely unsuspecting crowd, in the middle of the afternoon, no less. 

Feeling a little frazzled (in a great way) we step outside and take stock. After a quick trip to the cultural institution that is Quadrophenia alleyway, we head down to Quarters for something completely different: LA singer-songwriter Arima Ederra. Clad in a sparkly silver tie and accompanied only by a laptop, Ederra represents the modern way of making music. Unfortunately, there are some technical issues early on, but once she has her backing tracks lined up, she delivers a stylish set of soothing, understated soul. 

After that it’s off to Volks, where another tonal 180 awaits, in the form of Scottish punks Cowboy Hunters. Composed of Megan Pollock and Desmond Johnston, the pair waste no time tearing into the dreaded Delegates (you know what, valid) as their boisterous brand of electro-tinged talk-punk kicks in. With Pollock and Johnston sharing not only vocals, but also drumming and bass duties, it’s a wildly entertaining set, only heightened by the pair’s brilliantly deadpan sense of humour.

A quick trip up to Komedia sees Irish duo Dea Matrona bring their sleek, guitar-driven harmonies to the basement, before Chicago-born, Manhattan-based Ally Nicholas takes centre stage at a packed-out Daltons. Almost like Billie Eilish if she made a full-on rock record, Nicholas is a very natural presence, not opting for theatrics of any sort, but instead offering up a selection of rocky-yet-relaxed grunge gaze songs, much to the delight of the audience. The time flies by, and before we know it we’re walking down to the beach to catch Villanelle.  

Now, the elephant in the room is that the trio are fronted by Gene ‘son of Liam’ Gallagher, which has obviously attracted some criticism, but also a significantly larger crowd than usual at the smaller Soundwaves stage. And yes, watching Gene perform is like seeing (and hearing) a ghost of the Oasis frontman circa 1994. But thankfully, the band don’t attempt to imitate Uncle Noel’s generational classics, instead opting for a grungy, Nirvana inspired sound that’s actually not half bad. 

After that it’s a race up to the Brighthelm Centre, which takes a moment to find as it’s tucked away down an alley. Once we do find it, we quickly realise an unfortunate fact - so did everybody else. The delegate wristband comes in extremely handy here (sorry Cowboy Hunters), as Georgian soul man Brother Wallace has already been on for about 15 minutes. It’s not long before we’re whisked into a room that, while technically a community centre, now feels like a church, with Wallace’s gospel-infused songs filling the air. Backed by a talented band and trio of backing singers, Wallace radiates pure joy, his expressive voice eliciting abandon amongst almost every punter.

As vibrant multi-coloured lights shine down from the ceiling, the songs keep getting funkier, and the atmosphere increasingly communal, until we're all repeating after Wallace and clapping our hands in unison. This is one of the few sets which could go on for hours without complaint, but all good things must come to an end, and so it does.  

While people pile out onto the darkened streets of Brighton, we realise that Lina-Mariah is playing again, just round the corner at The Hope and Ruin. We head upstairs for round two, making our way through a jam-packed room already in thrall to her spirited performance. The only discernible difference from earlier is that she’s clad in a red leather jacket as opposed to a black one, though of course, the energy that comes from playing to a full venue takes her crowd-friendly anthems to an even higher level. 

We’re considering calling it a night when Dutch trio Fellatio saunter onto the stage, like the drunk pirates they’re seemingly dressed as. One of those bands that are probably a lot more fun live than on record, they keep Hope and Ruin swinging until the early hours with a surreal mix of disco sleaze and sea shanty chic. Frontman Abel has a touch of Jarvis Cocker about him, doing away with his shirt but never his captain hat, naturally. It’s an infectiously weird, surprisingly danceable set, and a great way to bid adieu to another eye-opening day at The Great Escape. 

As you may well have guessed, Saturday gets off to an even slower start than Friday. Pleasingly, Brighton’s own Opal Mag are on hand to guide us, gently, into the final day of the festival, their melodic, shoegaze adjacent soft-rock working wonders under the purple neon of Komedia’s upstairs studio. After that, there’s a rare dry spot in the schedule, so everyone still gig-going heads down to Patterns to see Parade, who apparently consist of “musicians from jazz, electronic, punk and rock backgrounds”. Like so many of these ‘art-punk’ collectives, they turn out to be a lot less punk, and a lot more art. 

Which is fine, except this description, paired with a lot of people at loose ends, has led to a room full of people who aren’t particularly interested in listening to a set full of hushed vocals and sporadic sax breaks. There’s an awkwardness in the air as a significant number of people realise what they’re in for, and promptly leave. Worse still, about half the people remaining proceed to talk loudly over what is supposed to be an intimate experience. It’s hard not to feel a bit sorry for the octet, though a severe lack of dynamics didn’t do them any favours.

The other option was the Australian Music Showcase on the beach, and as soon as we arrive on the pebbles to catch the tail end of rising indie-pop artist Charli Lucas, we instantly regret not joining sooner. Happily, she still has a few songs left, and her light, knowing pop songs prove to be the perfect antidote to the previous set. In particular, her signature tune ‘FKN EMBARRASSING’ is a total earworm, with some punters already singing the chorus back to her by the end of the performance.  

We’re then informed by the showcase host - a genial middle-aged man with a penchant for a well-placed quip (think Bradley Walsh, but Australian) - that the final band of the showcase, Teenage Joans, will be on in 20 minutes. We use the time wisely by paying a visit to both the urinals and the bar, before taking our place a little way away from the stage. When the time comes to welcome the Adelaide duo onstage, our host encourages everyone to get down the front and “huddle like penguins”, in order to counter the cold wind whipping over the beach. 

The huddling never materialises, but people do move much closer to the stage, and we end up stood right by the barrier as the pop-punk pair launch into their latest single ‘Coming Up From Hell’. It’s a ferociously fun opener, introducing us to the interplay between guitarist Cahli Blakers and drummer Tahlia Borg, who share vocal duties.“This beach is a bit different from the ones we’re used to in Australia”, laughs Blakers, who goes on to express her love for “the UK, and your Sainsburys meal deals”, prompting laughter from the windswept crowd. “I got shat on by a pigeon in London”, adds Borg. “It’s not good luck”, grins Blakers. “That’s just something you guys say to make yourselves feel better”. 

We’re treated to many such observations throughout the set, and it’s incredibly endearing. The pair have a natural charisma which makes them easy to root for, though even if they didn’t, the songs speak for themselves. Fast-paced, hook-laden and propelled by a fizzing energy, tracks like ‘Bandits’ connect exceptionally well in a live setting. There’s a primal fascination in hearing Blakers hit the high notes of the chorus, with one of those vocals which sounds like it could crack at any moment, though of course it never does, creating an incredibly satisfying sonic tension. Her guitar solos are also a joy to experience close up, all high kicks and quick jumps, à la Townshend & Weller. As Junior Soprano might say, Teenage Joans can fucking sell it.  

Another change of pace follows, as we shelter from the rain in the Deep End tent, where London 8-piece Orchard are just getting started. Boasting a buoyant three-person horn section, talented guest vocalist, and exceptionally adventurous bassist, the band sound like a sunny day. Although they describe themselves as jazz, their set sidesteps the (perhaps unfair) public perception of the genre as pseudo-intellectual ‘lift music’, instead serving up the party-starting grooves more commonly associated with funk and soul. It’s a wonderful half hour, so uplifting that you almost expect the sun to come out in approval. It doesn’t, but we head to Volks regardless, in the hope of catching Belgian rockers Arson. 

When we arrive a good five minutes prior to the start time, the band are already well underway, with people piling into the increasingly limited space. Luckily, there’s a viewpoint near the bar which looks directly onto the stage, so we join the other punters watching from afar. All dressed in brown waistcoats and sporting ties, the 5-piece might look like a 60s throwback band, but they sure don’t sound like one. 

Built on a filthy concoction of pummelling drums, relentless guitar, and raw, screamy vocals, their sound is like a mix of Motorhead and The Hives. Every member exudes unbelievable levels of energy, with frontman Jeroen Vraken quite literally climbing up the walls, performing up there for a while, then launching himself into the crowd, who duly catch him. Back on the ground, he takes a swig from his bottle of Jack Daniels, before offering it out to those in the raging pit. It’s sweaty, bombastic stuff, leaving you with the impression that people must simply be built different in Belgium. 

A quick walk up the Pier proves to be a rather majestic experience, the dark, stormy sea lending Brighton’s most recognisable feature an almost gothic quality. We only catch the final song of New Jersey born, Brighton based Lonnie Gun, but the atmosphere set by the walk up is a fitting match for Gun’s brand of fuzzy alt-pop. 

We pop into post-metal trio Psychonaut on the way to Congratulations at Quarters, where the in-your-face four-piece have quite a party going, at least for their numerous fans in the building. A short cab ride up to The Hope and Ruin allows us to catch the end of Yorkshire band The Slates, who sort of sound like Arctic Monkeys covering Limp Bizkit, if you can imagine such a thing. 

At this point we’re exhausted, after three days of almost non-stop walking, drinking, and headbanging. It’s been amazing, but a burger and bed seems like an increasingly tantalising prospect, until we notice that the next band have apparently been endorsed by Noel Gallagher. We decide to get one last pint, and settle in for the appropriately named Cusp.  

It’s the right call. Fronted by singer-songwriter Dan Stock, Cusp cut through the lively late-night crowd with their nicely layered, effortlessly anthemic indie rock sound. They’re not flashy or provocative, but they’ve perfected their particular craft, which counts for a lot. As their catchy chord progressions ring out across the room, we reflect on what has been yet another fantastic long weekend in Brighton.  

Twenty years on from its very first edition, The Great Escape feels more vital than ever. In a creative climate in which small venues are under siege, popular tickets increasingly unaffordable, and AI ‘artists’ shoved down our throats by those who only care about their bottom line, it remains an essential reminder of just how much genuine, human talent is still out there, just waiting to be discovered.   

Words by Ben Left

Yorkshire rock royalty return with relentless third - their first in eight years - ready to take on the world again. 

In late 2018, Marmozets embarked on what would turn out to be their final tour. Supporting You Me At Six on an all encompassing arena show, it would be a year of endings - and beginnings.

A sharp sensibility to boisterous gravitas and infectious hooks, Marmozets were a lightning-in-a-bottle kind of band. Their debut in 2014, aptly titled 'The Weird and Wonderful Marmozets', shook the foundation and rocked the worlds' biggest stages with their huge, hook-filled melodies. They ventured deeper with their bolder follow-up 'Knowing What You Know Now' in 2018 stirred up enough noise which saw Marmozets become circuit staples and go-to festival slots overnight. Their heavyweight anthems, decked out with Becca's blood-curdling vocals, had floored all who had managed to catch a glimpse during their four-year outing. Then, just like that they were gone. As fleeting as a breeze. Marmozets would be nothing but a distant memory, etched on venue bathroom stalls by fanatics and thralls of live highlight reels fond Reddit posts littered online to a band that once was fritting the halls of rock.

Or so we thought. They say absence makes the heart grow fonder, and Marmozets’ return after seven years away proves that point. Soon the flurry of excitement on socials all but confirmed that those sought-after rumours were true. Marmozets were back.

After becoming parents and settling into a new chapter of life together, vocalist Becca and her husband, guitarist Jack Bottomley felt high time to return to another adventure that had been put on hold. Here, they cement their return with their third record, 'CO.WAR.DICE.' While the record was risen from an impromptu Friday night jam out of the blue, it can be said that this had been a long time coming.

Taking time to reconnect with one another entering parenthood - aswell as navigating a pandemic in its midst - the Yorkshire alternative rock royals are back and ready to plough on. As loud and as unrelenting as before, it's almost like they never left.

Of course, the long-awaited record still recoups some of that OG Marmozets sound that we fell head over heels for twelve years ago. Now, it's wrapped in a punch that's been ready and waiting for the better part of eight years - and it's release is as deafening as the cutting music strewn all over this album. Becca's roaring vocals feature just as strong as ever, as do the jagged riffs of guitarist - and husband - Jack. Becca's drummer brother Josh Macintyre helped bring demos to life on the tubs while her other sibling, Sam Macintyre took to bass forming a newly-adapted lineup of space and power. The ensemble is a full family affair. A dream for most - a nightmare for some - it's this refuelling sense of connection that has brought both new sound to a new vision.

When initially released a few months back, new songs sparked the right kind of reaction. Championed by fans and media alike, Western adventure saloon-door-swoon 'A Kiss from a Mother' was a heroic anthem and the perfect introduction to this new chapter, as she doffs her cap to motherhood the only way she knows how. Screaming incredulously into a mic. While this track was the first glimpse of new Marmozets, it was the follow-up 'New York' that was actually written first. A thrilling homage to an eccentric city, 'New York' spirals into a heinously addictive template of fresh sound all the while capturing that '70s punk energy fresh from downtown. Talking of sonic earworms, the buzzy uncompromising ‘Cut Back’ is another prime example while 'Running with the Sun in your Eyes' wades in synth-heavy groove that's just as beguiling. Backing up a stone's throw, 'Swear I'm Alive' peels back the fire for a slower pacing while the dream-pop acoustics of 'Dandy' reveals a band who in their age, have now seen a completely new and exciting side to life's beauty. Syncopated 'Like Last Night' upkeeps the tempo, while 'Flowers' is a contender for their most immediate moment to date with a sonically-conscious weapon of ups and downs, some may call it an unrelenting hell-raiser. The records' epic closer 'Keep Going Darling' is an experimental doozy for a band who, may be their most confident now but at one point, may have not been. A inspirational surge of perseverance post-maternity, this noted point of reference, however steadfast in its final form, was a band having to work it out all over the again. As the last ethereal tones ebb away on the final track on this long-awaited project of theirs, it sounds like those ill-fated kinks of theirs were definitely seen to.

Vowing to leave the world in a better place than you found it in, CO.WAR.DICE is a ferocious reprise of a band reeling off cold-cut classics, fanciful surprises and fragile pauses that cap off a remarkable return so sorely welcomed.

Beyond their headline dates which sees them hit London's Scala on June 11th and Sheffield's Foundry on the 4th, Marmozets also have a summer of big outdoor shows confirmed. They hit London’s Finsbury Park on July 3rd as part of a stacked bill before headliners Biffy Clyro.

Words by Alex Curle

There are plenty of surprises to be found on the new album from the Brighton band now trading as CQ Wrestling. Chief among them is the fact that it exists at all; a perfect storm of grief, burnout and music industry fatigue threatened to derail the whole damn project a couple of years ago. Charlie Woods and Jake Mac should have been on top of the world after 2023’s debut album Plus Ultra made good on seven years of promises, but barely a year later they were sitting in the pub, earnestly considering pulling the plug. The solution, as it turned out, was to hit reset and forge ahead under a new name with a new sound. This both is and isn’t the Chappaqua Wrestling we knew.

Resistance is a fitting title for a record forged from adversity; 2024 also saw Mac lose his father, who served as the band’s first manager. That crucial pub meeting convinced them to ‘really fucking fight to keep this thing going’, and so the album opens with the fiery ‘Pacifico’, a song that’s an order of magnitude more urgent than anything on its predecessor and sets the tone for a record whose painful gestation scoffs at the ‘difficult second album’ cliché. This is a record that serves as a tear-soaked tribute as much as it fits the mould of rebuking the toxic creative environment that almost suffocated them. “I’m on the path to change” Woods insists, and across the album’s 11 songs he makes good on that promise.

Out with the Britpop tinges that characterised their debut, replaced by heavier influences that reflect searching lyrical content. ‘Catherine Wheels’ may bring to mind the near-namesake Great Yarmouth band for listeners of a certain vintage, but the song swerves closer to shoegaze than you’d expect; the full band crashes in with force you can feel in your chest. It’s fittingly full of fireworks, and the band’s first song released under their new name is recontextualised as an emotional release after ‘Finish Line’ brings to mind Doves at their noisiest and most affecting. They’ve absorbed that kind of washed-out sound incredibly well: ‘HEALTH+’ offers a more energetic, tightly syncopated spin on it that sounds like you’re listening through freshly blown speakers. ‘I won’t lose this time,’ indeed - a line that’s delivered like Woods knows it’s simply not an option.

There’s an element of chaos here that’s impossible to ignore, audible in the way ‘Innocence’ swings between pensive verses and its explosive chorus. ‘Are we grinning through the pain?’ the band ask, right before confronting industry bullshit on ‘Smoke Screen’, a noted musical and lyrical left turn that serves as the first genuine curveball on the record. ‘Grinning through the pain’ is just as important as the physical and emotional resistance that gave the album its title; the pair are clearly having fun with this, even if the likes of ‘Guns In Their Hands’ and the heartwrenching ‘Shine Not Burn’ are clearly birthed from difficult circumstances. 

Woods and Mac were shooting skyward on the cover for Plus Ultra, finding themselves crashing to earth not long thereafter, but Resistance is the sound of a band picking themselves up and starting again, in a manner that grips you for 43 minutes and doesn’t let go until closer ‘Soft Top’ is left to fade into the ether. Cathartic, intense, absolutely vital - to think it almost didn’t exist at all. They got to start over a decade in, and CQ Wrestling have seized the moment with a staggeringly powerful album that will linger in the memory long after it’s over.

Words by Gareth O'Malley

Tove Lo delivers a sharp, addictive return with “I’m your girl right?”

There is something incredibly satisfying about hearing Tove Lo fully lean back into the kind of emotionally charged pop music she does better than almost anyone else. “I’m your girl right?” arrives as the first single from upcoming album ESTRUS, and it immediately feels like the return of an artist completely confident in her instincts. Built around pulsing synths, hypnotic repetition and emotionally exposed songwriting, the track captures the messy push and pull of wanting reassurance from someone while already anticipating disappointment. It is intimate, addictive and delivered with the kind of honesty that has always made her music connect so deeply.

The song’s biggest strength is how direct the writing feels. Nothing is hidden behind vague metaphors or overly polished lines. “Tell me what I wanna hear now, don’t make me doubt” lands because of how simple and recognisable it is. That need for validation runs through the entire track, especially during the repeated chorus of “I’m your girl, right? Love me hard, it’s not my first time.” The line sounds confident on paper, but the way it is delivered gives it a completely different weight. There is hesitation underneath it, almost like someone asking a question they already know the answer to. Even smaller details in the lyrics make the relationship feel strangely vivid. “I like your teeth, could watch you eat for days” is oddly intimate and slightly obsessive, capturing the way attraction can turn mundane details into something all consuming.

What gives the track an added layer of meaning is how closely it aligns with Tove Lo’s own framing of this new era. Speaking about ESTRUS, she describes it as “primal,” driven by a mind and body wanting different things at the same time, and containing “no solutions, just a lot of feelings.” That idea sits right inside the single. The song never tries to resolve its emotional tension or turn uncertainty into clarity. Instead, it stays in that space where desire and doubt overlap, which makes the repetition of “I’m your girl right?” feel less like a question and more like an instinct she cannot switch off. Even the music video, shot in Brazil with a large ensemble of dancers, reflects that sense of intensity and physical expression she mentions, turning emotion into movement rather than explanation.

That same sense of momentum carries into what comes next for this era, with the announcement of the ESTRUS tour already signalling how expansive this project is set to become. Starting in North America before moving into her biggest UK and European shows to date, the run feels designed to match the scale of the music itself rather than simply support it. In her own words, she promises to make it “very special,” bringing collaborators like Mallrat, Cobrah and Rose Gray into different legs of the tour. It is a reminder that this era is not just about a single or even an album, but about building a full world around it.

Taken together, the single, the visuals and the wider rollout suggest an artist fully in control of her narrative. More than a decade into her career, she is still finding ways to turn emotional contradiction into something immediate and physical, not by explaining it but by letting it repeat until it becomes instinct. If “I’m your girl right?” is the entry point, then ESTRUS feels like a space where uncertainty is not solved or softened, but stretched out until it becomes the hook itself.
Words by Dhriti Duggal

Future alternative titans Split Chain bound from strength to strength in their new release ’Scatterbrain’.

Bristol's hottest metal prospect are back at it again and just keep pouring points into every aspect of their skill tree, as they release their newest track and first since their debut 2025 album ‘motionblur’. Split Chain have had to learn on the job for most of their careers, having only formed in 2020 and only growing since their inception, they have moved at a make-or-break pace, and it’s very clear that they have indeed chosen the former. With every release and every new tour, they have developed their sound and live show to a point where the previous show becomes incomparable, and this single does exactly that yet again. Incorporating a heavier shoegaze influence and deep emotive atmospheres, this song sees them explore new territory without it getting messy. 

The instrumental of this song builds on the already well-established tone set in the previous EP and album, but just expands everything; there’s more noise, more chaos, more flare, each pairing perfectly. This new breed of chaos is hard to balance, and it’s very easy for a band to get lost in the swirling of the riff and the accompanying atmosphere, but ’Scatterbrain’ manages to flawlessly execute its goals and adds yet another string to the band’s bow. The electronically fused background effects feel very reminiscent of some newer Bring Me The Horizon tracks, but with a stomping and powerful injection of Nu-metal voicing and chord progression. It’s truly brilliant to see a new band that have caught wind in their sails with a specific sound continue to build on their sound instead of playing it safe. This creative bravery is carried throughout its runtime and completely combusts during the ensuing breakdown of the closing minute. This final gasp sees the band draw all of their influence into one brilliantly crafted medley of furious notation, and is performed flawlessly.

This track only continues to get better and better every single time it’s played back; every section gains depth and becomes even more exciting once revisited. Alongside the announcement of this track and its counterpart ’Sylvia (I won’t belong to you)’, comes news of an extensive UK tour that will certainly see the band stun with their brutal and spine-tingling flavours of metal as they continue to grow and carve their path. These tracks truly have me aching for more Bristol-based brilliance, and I am truly proud to say that we are more than just cider, Idles, and that one big bridge, and soon you’ll all realise that when Split Chain continue to take over the world. 

Words by Josh Pook

Fast becoming one of America's most notable exports - singer-songwriter Matt Hansen has just announced that his debut album 'Orchid' will be out this summer.

He provided us with the final taster with new single 'Vision' - which sees him capturing the deeply personal spirit of Orchid, the new track channels uncertainty into something hopeful, reminding listeners that they can always find their way again. Orchid is an exceptionally honest and vulnerable body of work that reiterates Matt’s sharpened lyrical ability, exploring the trials and tribulations that come with a deeply complicated relationship. Across 18 unforgettable tracks, he creates a sense of connection and community through his songwriting, encouraging men to express their emotions and proving that being vulnerable isn’t a weakness.

He took a moment to talk to us about the inspirations behind his music.

Who are your top three musical inspirations and why?
Coldplay - They’ve been my biggest musical inspiration since before I could speak in complete sentences. I used to listen to Parachutes on the way to pre-school  in the car with my parents and just daydream while looking out the window. The way that their melodies and lyrics make you feel is like nothing else. 
Bon Iver - His voice and songwriting is second to none. I feel every single word he sings and I will always chase the way that he makes people feel. I love artists who make you believe everything they’re saying and he is prime example of someone who does just that. 
Sam Fender - A modern day Bruce Springsteen with one of the greatest voices I’ve heard. He writes such specific lyrics that somehow are so generally relatable. Every song he writes is a beautiful poem that could stand on its own and I love how hard he digs into your soul. 

Is there a certain film that inspires you and why? 
I’ve always loved “Eternal Sunshine of the Spotless Mind.” It’s such a beautiful and heartbreaking love story that explores a concept that people think about so often. What would happen if you erased them from your memory forever? I love to write about that kind of pain and love of wanting someone back in your life but not being sure how to make that happen. It’s a beautiful nostalgia. 

What city do you find the most inspiring and why? 
It’s such a common answer but New York. I think you just get to experience being human the most in the shortest amount of time. Everything is happening so fast and most of my songs are actually written about moments that have happened in New York. It seems to bring out the best and the worst of everyone and I find that interestingly to experience. 

Who is the most inspiring person to you and why? 
I’ve always been inspired by Chris Martin. He has such a gift of bringing people together and making them feel like they’re a part of a community. It’s all I’ve ever wanted to do with my music.

What were your inspirations when writing your new track? 
I was really inspired by Sam Fender and Noah Kahan  for this new song. I’ve been loving the push into this folk rock space and really wanted this song to feel like that too. That hopeful feeling belongs in folk music and rock music and I wanted to put it all together. 

How would you like to inspire people?
I would love to inspire people to give themselves a little bit more grace and have hope for the future. Life can completely suck sometimes so it’s important to go easy on yourself and make sure you take care of your own wellbeing. 

I first got acquainted with Blair Davie through their single ‘Lovely’ which is a world away from their new single ‘When You Fall In Love’, which comes ahead of a series of exciting announcements regarding Davie’s whereabouts in the coming few months. 

It felt like the perfect time to talk about the past, the present, and the future, with an artist that has inspired me many times through their music and now through opening themselves up to me and talking honestly about the artist behind the heartfelt sounds. “‘Lovely’ was the start of me doing a lot of work figuring out who I am as a person. I’d come out as non-binary through that song, I’d never talked about it before, and I felt like it allowed me to wear skirts and put on make-up and thrust this queerness into the world, and be proud of it.” The realisation that being queer does not need to be expressed through skirts and nail polish came not long after, “I realised I can just be that, and allow people to discover what it means to them for themselves”. 

Through single ‘Prague’, Blair achieved what every singer, songwriter and performer aims to achieve; they connected with people of all walks of life, including the queer community, as well as straight white men, and all those in-between. It opened their eyes to the power of bringing people together, rather than creating music for a particular community, it’s bringing everybody into a shared space of love. “I realised how powerful that was, and how good it made me feel. I think that our own journeys of who we are can also be personal things that we don’t need to explore in the public eye. My job is to share who I am and see what happens when I share my songs. It was nice to take a step back and simply put “I love you” into the world.” 

This new body of work follows previously released EPs that talk about love in a slightly lighter-hearted way, while the EP we’ll be able to find ‘When You Fall In Love’ on, uncovers a more traumatic past. “Finding love kind of healed me, and helped me to love myself again. I learned how to accept myself and the kind of darkness I have in me. I get a lot of healing from writing songs as well, and a huge part of it also comes from sharing it with people. I’m looking forward to some of the conversations with fans after the shows, because the conversations used to be a lot deeper when I was writing more personal music, there was a lot of healing on both sides.” It’s scary yet rewarding baring your soul within music and on stage, in front of real people, how would anyone deal with the stories that get shared in return? “I’m good at being a sounding board for people when they want to share things. I also know what it’s like to be a fan, because I obsessed over artists like Dodie, Orla Gartland, and Dermot Kennedy and people that were really honest in their writing when I was younger.” 

Inspired by the honesty of the above mentioned performers, Blair stopped pretending to be anyone but themselves. Many of the songs on the EP had been written and finalised before, but there was one final puzzle piece missing, “two weeks to go before recording the EP and I knew that there was one song missing, and that ended up being ‘Miracle’, which is a thank you, thank you for not slamming the door in my face, thank you for sticking with me when I don’t think I would have stuck with myself…” The whole EP was recorded at Middlefarm, which is where Blair and the band stayed and built their community of musicians contributing to these songs, the comfort that is felt while they were recording is heard on the recordings. 

“It was so clear that this was my place to make music, I needed a safe space to record because the music was so raw”, and in doing so, Blair Davie created a safe space for their listeners to process their feelings, and come to terms with themselves. “The umbrella theme of what I hope that people get from the EP is that they’re not the only one going through whatever it is they’re going through, it’s hope.” Blair will be bringing the EP out on the road with shows in Glasgow and London having already sold out, as well as shows across Europe and at Amsterdam’s stunning Bitterzoet. “I’ll be bringing the band show on the road, I’m intrigued to see how people will respond to that, but I think it’s going to be fun!”

Words by Laura Rosierse

This week’s Artist of the Week is girli - who has just released her third studio album ‘it’s just my opinion’.

With this latest project, girli proves herself as one of the most creative and forward-thinking voices in contemporary pop. it’s just my opinion represents her most daring work to date - an authentic evolution of the queer alternative sound that has become central to her artistic identity. She’s trading gloss for grit, and polish for raw, intimate expression, stomping fully into her role as a popstar and joyfully living her truth.

girli began developing the album in 2025, setting a defined objective to complete the record within nine months while documenting the process for her audience. Returning to a more instinctive approach, she made a conscious decision to create without self-censorship. “When I first started making music, I had a strong political drive that became diluted as I was encouraged to be more ‘commercially viable,’” she explains. “Now, that’s shifted, and listeners are increasingly drawn to artists who genuinely stand for something.”

She took a moment to talk to us about how the album came together.

Hey there Girli, how are you? So your album is out now – how does it feel to have it out there?
It's always such a weird mix of feelings when a project finally comes out. It’s exciting, and I feel so proud of these songs but then there’s also a feeling of “is this it?” - the world keeps spinning, music gets put out every day. As an artist you have to remember that your art is important and also unimportant, and that’s ok! But my fans always make me feel important, they’re the best. They've been waiting a while for this one! 

It is called 'it’s just my opinion' – what is the meaning behind that?
I chose the title 'it's just my opinion' because I was promoting the second single from the album, 'slap on the wrist', which is a protest song about perpetrators of sexual violence getting away with no consequences, and my content about the song was getting serviced to so many horrible, misogynistic men on social media, and I was getting so much blind hatred in the comments, and I realised that the hate that people will justify because it's just their opinion is crazy. The way people don't realise just how significant and impactful opinions and words can be is nuts. So I was inspired to call the album that because I feel like my art is becoming more interwoven with activism. 

Where was it recorded? Any behind-the-scenes stories you are willing to share with us?
I recorded the album in London and LA. People might not know this, but a couple of really amazing artists have songwriting credits on the album. G Flip co-wrote and tracked drums on Better Undressed, and Maude Latour co-wrote Slap on the Wrist!

What are the key influences behind the album?
I was a teenager in post-indie sleaze London and all the music I listened to was bands. When I started making my own music, I went in a super electronic pop direction and I wanted to inject some of the essence of the indie rock that I grew up loving into this album. I was listening to a lot of Blondie, Wolf Alice, HAIM, Arctic Monkeys when I was making this album. But most of all, the main influence is my yappy mouth. Opinionated til I die, baby.

If the album could be a soundtrack to any film – which one and why?
10 Things I Hate About You. I see a lot of myself in Kat Stratford: frustrated at the world, fiercely opinionated, romantic, complicated. 

Do you have a favourite lyric on the album? If so, which one and why?
"She was drunk, you were scum, how the fuck were you turned on?" from Slap on the Wrist. It encapsulates my general “what the fuck?” feeling about the world right now. 

Now the album is out there – what's next for you?
Touring it! My favourite part. To scream the lyrics with the fans. I’m playing the album live with a full band in cities across the US, Europe, UK and I have my eyes set on Australia, South America and Asia too. girli’s going global, babe

JPEGMAFIA turns chaos into cinema on “War Over Land”.

JPEGMAFIA has taken time out of his beef with Odd Future alumni Earl Sweatshirt to drop the second single from his forthcoming album EXPERIMENTAL RAP, called “War Over Land”. The first single, “babygirl”, announced the project last week as a chaotic fusion of rap, rock and punk that channelled the tension of modern culture. Its follow-up couldn’t be more different.

The track opens with an atmospheric piano, a stark contrast to the heavily experimental “babygirl”. Then an electric guitar enters the frame, and suddenly it almost feels like we’ve arrived at the scene of a car crash after it’s already happened. Thirty seconds in, Peggy comes in rapping, and in typical JPEGMAFIA form, throws out an eclectic mix of shoutouts to different Michaels. It’s an understated, cinematic opening that sits in line with the track’s broader themes: the human cost of conflict and the emptiness of modern clout culture.

A softer guitar helps soundtrack a profound second verse, with beautiful strings lacing and building the instrumental, ostensibly swelling towards something great. There are some sharp one-liners here, “giving out C-sections, you get a D for effort” among the best of them. The lyricism cuts through the usual internet posturing and lands somewhere more considered, dealing in real-world consequences rather than noise.

Then, before you know it, a choir comes crashing in alongside thrashing cymbals. It’s an accumulation of everything that’s been quietly building, the track bursting into new life in what feels like a metamorphosis all within the space of three minutes. Am accompanying one-take music video captures these themes through a single unbroken shot, and it works.

The one caveat is the ending, which feels abrupt. Peggy has never been one for extended tracks, but even by his standards this outro feels unnecessary. With that said, the bulk of “War Over Land” is solid, and it makes for another strong taster for EXPERIMENTAL RAP, out May 21st. As a singular visionary who writes, produces and mixes his own material, JPEGMAFIA continues to command his place at the forefront of experimental rap, and this single is a further reminder of why.​​​​​​​​​​​​​​​​

Words by Alex Peters

Love Rarely bring an intense emo math rock set to Highbury/Islington’s Grace that shows they’re ready for bigger things; with excellent support from the likes of Sunday Best – we’ve just witnessed the first London headline of the next great hardcore band 

For a relatively new band like Love Rarely to sell out the Grace after the release of their album is massive; to the point where you’re almost left wondering whether or not it should be upgraded for more space. The crowd – everyone involved; have come tonight as they’re fans – be it of local support act Sunday Best, or headliner Love Rarely – the Leeds band at to a growing number the strength of that scene. Their intricate math rock style and five-piece structure gives them a unique sound with soaring; powerful choruses – you can see instantly, why this is a Slamdunk sponsored show – the perfect chance for those going to mingle and network ahead of the emo festival in Hatfield (and Leeds!) later this month.

Sunday Best are on first and I haven’t seen that much energy from an opening band in a long time. They’re local favourites and it’s very much a queer friendly, pro-Palestinian hardcore band that wear their heart on their sleeve: repping the hardcore scene for alternative people of colour at every show. Walls of death, circle pits, heavy moshes, two-stepping are all present - with the enthusiasm that you only get if you are really, really into this music and nobody there looks as though they don’t want to be on stage. Their groove-oriented emo and post-hardcore makes them the perfect support for Love Rarely – with lead vocalist Alex Ekong catering to bands like My Chemical Romance, Letlive. and Smashing Pumpkins for inspiration – and you can tell in his vocals; lead delivery and sheer passion that he brings to the table – all band members are unafraid to bring their instruments into the pit and get stuck in. It’s high tempo, high-energy, completely and utterly unpredictable – and running through tracks like ‘Pollyana’, ‘Dig Deep’ and ‘Past Tense’ – those who got down early (as you always should) are in for a treat. They’ve already played Multitude and Decolonise Fest – and have had sold out shows in London and Birmingham. That’s the sign of a band on the rise – capable of getting fans out of their comfort zone and into the pit in the best way possible. 

Second act on is mishikui; who draw on influences from the likes of Sunny Day Real Estate, Title Fight and Drug Church and that is evident in their post-hardcore set up. Their sound refuses to be defined by any one space, and they instantly carve out a unique path with a clear vision – the dreamy guitar hooks groove throughout the room and the audience is engaged completely. They look set to follow the journey to Burn it Down festival in Torquay and that’s the sign of a real tastemaker hardcore show right there – they draw a packed out crowd and get them bumping and moving effortlessly.

Headliners Love Rarely are on an upward trajectory and that’s apparent by the fact that the crowd know the words to every song even though Pain Travels is a very recent release. It’s an intricately personal record and intimate show to boot; the band making the venue feel alive and lived in completely and utterly. Lead vocals Courtney Levitt’s screams are both haunting and deeply powerful – reminiscent of Tay Zantingh’s intensity (frontwoman of Canadian hardcore screamo outfit Piss, equally good and equally dealing with as much rawness in their subject matter) and capable of chewing scenery with the best of them. The energy is ramped up to eleven and it feels like the whole venue is pitting; moshing, there’s even time for a crowd-surf. Circle pits break out early on and Love Rarely have the energy for much bigger stages and the star power to back it up – Levitt’s ability to command the room to have walls of death split open and surge forward is impressive; the vocal delivery for the sheer intensity of the subject even moreso. Love Rarely tackles rich issues like generational trauma and how if not dealt with correctly it just carries on and on through families – with the album tackling deep rooted issues from childhood. 

They’ve said that the album fits the vibe of Danny Boyle’s ’28 Days Later’ – although I’d say just as likely reflective in its sequel; ‘Years’ – with the themes of family issues between the core group of characters that are apparent and that is the one soundtrack that evocates the mood of the live show perfectly upon delivery. It’s an outfit that feel really engaging live – capable of chewing up the room and leaving nobody behind. ‘Whiplash’, ‘Mould’ and ‘Severed’ get us started – and if it wasn’t personal by ‘Severed’ things get really intimate by then; the spell cast on the audience helps it feels like you’re witnessing a special intimate set from a star performer that normally fills out arenas. Levitt’s energy is unparalleled and the abrasive attitude that she brings to the table draws the crowd in; rarely standing still and always throwing the bands’ weight around. It’s my favourite from the record so to see it deployed so early in the set marks a very high bar for them to clear for the rest of it.

The complicated relief of letting go of a personal family member is such a hard, deeply personal thing to do and incredibly difficult when they’re still in your life – you can’t help but feel guilty even though it’s through their own actions, not yours, that have lead them to this point – and you have to acknowledge that some people are beyond saving. You hope you don’t have to relate to it; but too many people do. This kind of emotional power helps Love Rarely to stand out and catch eyeballs – like with their show supporting The Callous Daoboys and Knives at Underworld; it feels like your last chance to catch them at a venue this small – few stronger debut hardcore albums have been released this decade. 

The rest of the set follows: it’s 13 strong which covers most of the tracks they’ve released so far; drawing as much from ‘Lonely People’ as ‘Pain Travels’. By the time you reach ‘Through Families’ you feel like you’ve been on an almost spiritual journey of healing with the band themselves – able to convey the emotions of their pain; and their growth through trauma – with the audience. “So pull up the family tree, the roots are soaked in alcohol, the branches weak, the leaves suffer” is self-cited as Levitt’s favourite lyric from the band and it’s easy to see why in her delivery – grappling with the weight of alcohol addiction and the scars it leaves behind. As a main set closure before the outro of ‘P.A.F.’  it’s a perfectly quieter; more emotional touch. 

Catch Love Rarely at 2000 Trees and Truck Festival this summer, as well as Burn it Down in September – their unique blend of vulnerability, defiance and post-punk riffs really captures a space in the scene that is very much lacking right now. Don’t ignore support act Sunday Best either – playing next at the Black Heart, supporting Profiler, before a string of festivals like Bulletproof and Duck & Dive.

Words by Miles Milton-Jefferies

After years of playing shows, reminiscing over their old bangers and becoming more musically complete than ever, Basement are back after 8 years with their new album ‘WIRED’, showing them off at their most profound and well-versed to date while still maintaining that brutal tenacity they have become renowned for.

Basement has been around a long time, especially when you consider the life span of their genre, and to see them grow and flourish alongside it at every step of the way is one of the best parts about following bands in this scene. While their sound has remained relatively similar throughout their lifespan, ‘WIRED’ is an all-new take on that sound with lulls and booms that see the band cross ground that has not been explored in quite some time, keeping that same interconnected and vibrant feel to all of their deeply perceptual tracks.

Throughout the course of this album, we bear witness to some of the best writing and composition that this band have put out to date, a lot of which contains a softer approach than previous, which speaks to both the quality of their song writing outside of their angsty and brutal tonality and the emotional wisdom that comes with more years under your belt. ‘WIRED’ truly is Basement at its best, and to see them continue to grow keeps me excited for the future of this scene. 

The album opens with the track ’Time Waster’, and to the average basement fan, this will likely be most familiar; it’s raw and punchy and embroiled with their signature blend of emotive aggression. It was a brilliant idea to start the album with this track, as its sense of familiarity and its blistering pace get the cogs turning, especially towards the end of the song as the final chorus kicks it into 6th gear and smashes its way into the next song through vicious chords and coarse vocals. This serves to open up the audience for the fresher sound and the rest of the album.

‘WIRED’ is layered perfectly; every track flows so well and continues a long lineage of perfectly assembled albums. If you have been following the release schedule of the album, its new sounds won’t be entirely new, but this works excellently as the singles are intercut with the heavier and grittier deep cuts, allowing the pace to change while still keeping the energy consistently high throughout. This pace is carried into the title track and debut single, ‘WIRED’. This track hits hard and with a sense of immediacy; its more astute and clearer vocals coexist perfectly with the whirlwind of chords and an all-time drum performance for James Fisher, who is also the drummer for lesser-known London hardcore menaces Dynamite. The rest of side A smashes through my favourite track on the album, the spine-crunching and brutalist ‘Deadweight’. This track takes the older, heavier sound of ‘Wish You Were Here’ and ’Colourmeinkindness’ and amplifies it; the guitar playing is more vast and technically advanced, the overall composition and finishing touch is so well thought through and intentional and really sees the band come into their own.

As side A continues, tracks like the other debut single, ‘Broken by Design’ and ‘Pick Up the Pieces’ shine for different reasons. ‘Broken By Design’ is a completely different vibe to the rest of the album; it has a more indie-focused sound and shows their best lyricism and flows out of any project so far. as the side A draws to a close ‘Embrace’ encompasses the best elements of all albums past and presents draw to a close with an atmospheric and elegant drum line mixed in with a plethora of man-made effects generated from the bass and the guitars. This pace escalates into a halftime riff that falls into place like a cartoon anvil. The pacing on this song is absolutely fantastic and reiterates yet again just how much this band have learned and developed since their last album. 

Side B kicks off with ’Sever’ and its so captivating to see just how on form basement are on this album, the sound is curated for every listener and will undoubtedly have at least a handful of tracks that fans new, old and super old can build brand new memories to, sever is the perfect start to the B-side as it feels raw and overflowing with energy, the craftsmanship behind the desk feels slightly more laissez-faire, allowing the instruments to do the talking and conveying the teeming creative energy that has been poured into this project. This really helps the synergy of this album continue flowing without interruption. The two most recent singles also reside within the second half of this album. ‘The Way I Feel’, a gorgeously penned love letter to the genre,  is the most sincere and intentional track on the album; it balances the scales right in the middle of the chaotic heavy sound and the mellow vibe-laden lead lines of ‘Broken By Design’, the song feels built around both the cultures and the people within those cultures that the band love so dearly and this love is conveyed perfectly through this songs run time.

The most recent single, ‘Head alight’ is the beginning of the end of this album, and it begins its sendoff in such a perfect way, it’s slow yet still grungy and muddied, creating a perfect friction between the slow and grating tone of the chords with what is likely Andrew Fisher’s best vocal performance on this whole project. to be both atmospheric yet deeply rooted in the sound found on previous records is not easy to do, but it is pulled off beautifully. as the album continues Basement continues to give their lighter and soulful songs to breathe, these track on previous albums have always been fantastic but it truly feels like they have come into their own with them now, with ‘Longshot’ being the slowest of the bunch, its nice to see that they have become a multifaceted powerhouse of musicianship.

As the closer started, I already found myself ambling back to the play button to get a second loop in before another thought could enter my brain. ’Summer’s End’ is a triumphant and all-encompassing track that truly covers all the ground that the band could want to touch on. It’s gritty and technical as the drums hit snare rolls that accost the succinct major chord and note progressions, it creates this perfect balance that Basement have become all too good at operating within, and they couldn’t have chosen a better album to ring out this valiant return to. 

This is set to be an absolutely astronomical year for Basement, launching a slew of listening parties and in-store shows to accompany the release of the album, as well as some awesome festival appearances, including a coveted Outbreak headline slot. With the fuel from ‘Covet’ being launched into the stratosphere in the past few years (even being featured in the horror movie, ’Presence’)  this album will likely garner widespread attention and finally break through into the mainstream, giving their unyielding talent and creativity its time in the sun, all we can hope for now is to hitch a ride on the back of their inevitably chart topping rocket ship of an album. 

Words by Josh Pook

Hailing from the infamous city in the north-east of England, the trio have brought their “unequivocally Geordie” anthems straight to the forefront of a London dominated scene.

Starting off as a producer duo between drummer King David-Ike Elechi and bassist Stan Woodward in 2020, their work evolved massively once the two decided to rent a studio where they would write together.

Two years later, in rather unorthodox fashion, trumpeter Ferg Kilsby joined.

“We were watching a video of this youth jazz orchestra and then we saw this trumpet player, really young with this russian hat on, and it just sounded amazing”, King recalls, “Stan and I just spent hours scouting the internet, asking everyone that we knew, and after months of searching we finally found Ferg”.

15 years old at the time, Ferg recalls trying to make up excuses to not take up their offer, before his parents encouraged him to accept, leading to an inaugural jam. Things progressed quickly from there, with the group playing weekly gigs at local pubs and venues, before they collectively decided to move to London for their music studies.

This decision could potentially be attributed to the rising lack of opportunity for young musicians in the north-east of England, especially in jazz, where the epicentre of the movement is still situated in London.

“I was lucky”, explains Ferg, “when I was starting I had music lessons at school and there were school bands. In the last few years the state of music education and the arts in general, like youth clubs and stuff like that, has slowly been eroding away”.

Even major national music events such as the Mercury Prize being hosted in the area doesn’t seem to fill the group with hope: “It does provide more business but doesn’t actually help the grassroots music scene. On the surface it may seem like its providing more money and funding, but it’s actually not really doing anything”.

Alas the three remain determined to lead the way for aspiring musicians outside of London, with their newest album still very much containing the Geordie spirit intact, if not stronger than it was in their first record.

In fact, the recording process also saw an influence from a different type of “Geordie”, that being the infamous and fast-rising star Geordie Greep producing the album with the trio.

“I am just pinching myself” tells Ferg, “I listened to Geordie’s album religiously, and now he is just this guy we know. And I just forget it’s the same guy who made that album”.

“The knowledge is crazy! I remember when we were mixing the album I was just kind of sitting there watching as Geordie was just suggesting things that wouldn’t have occurred to me in a million years”.

King was also not shy in his praise of Greep as a major creative influence on the sound of the album: “He knows so much about the actual record making process of not just pressing record. Just watching him take the lead and suggest things has made us figure out how to conduct ourselves in the studio in a way we didn’t really know how to beforehand”.

The group had a meticulous schedule ahead of their studio sessions, getting together prior to their recording sessions to decide on final arrangements before they went any further: “we went to Geordie’s studio and recorded all the demos, with massive changes for most of the tunes”.

“It got to the point where we had these things completely solidified, we knew what was going to happen and all the sections were completely set in stone. So it was really smooth this time, we felt a lot more comfortable”.

Being a former black midi fan, King was also excited about the rock influences which came to fruition in this record, which he believes have added a different edge to the group’s sound: “It was sounding cool but having all this extra stuff, making it sound large on a recording is a whole other experience”.

“It adds so much more. And it kind of sets us up for the third one. Now we have a completely different uncharted territory to go in and see how far we can go with making a record that cannot be replicated”.

Reflecting on their last year, the group struggle to believe how far they’ve come in their musical paths, having completed their first headline tour, first gigs outside of the U.K, and become friends with some of the brightest musicians in the country: “It’s been like an introduction to the actual scene, and becoming less of a small town band and creeping into that national region, or at least trying to”.

Knats certainly push the boundaries of modern Jazz and Rock music in their newest record, an exhilarating exploration of the sound they have built together over the years, advanced even further by the creative freedom manifested in the instrumentation and the ode to their hometown which is felt strongly throughout.

Words by Jay Cohen

It’s hard to believe that she’s already been making music for over ten years now, but this is not girli’s first rodeo. Since the release of her debut album Odd One Out, and further pushed with her follow-up Matriarchy, the London artist has been reaching new heights with every year that passes. Now with her latest full-length, she’s on top of the world; where she belongs. But that’s just her opinion.

Being a standout storyteller, girli made a name for herself for bringing social issues to the forefront with her alternative-pop sound being the messenger. From human rights to politics, from the importance of her identity to the erasure of identities in others, she has never played a safe game and everyone is watched, judged, and if necessary, called out in song. it’s just my opinion follows the same formula but switches the mood; either as a reaction to living in a world constantly turning backwards or just a style change to match her current energy.

The record starts with ‘Blue Sky’, an alternative-bedroom-pop track about wanting to gain control in an uncontrollable world. Touching on everyday social anxiety and turning away from old-fashioned expectations, girli just wants to lie under a “blue blue sky, in the place of the ceiling” so she can finally be at peace.

It kicks the album off with what can be inferred as a succinct summary of what living in this modern-day environment: everything is unpredictable, and unpredictability brings on stress, pain, and tiredness. All to a point that all one dreams of is nothing: no noise, no responsibilities, just clarity and emptiness. It’s a relatable point that everyone gets to at one time or another, and to express this moment with a catchy pop-filled rhythm hammers home the inevitability that all calm and quiet is only temporary. But even a temporary break can be good for the soul.

Following this up is ‘Slap On The Wrist’, an anthem about the realities of living as a woman in today’s society. Detailing common precautions women will take to stay safe outside the home, such as covering their drinks on a date or holding keys between their fingers, it’s a story that resonates with thousands - if not millions - of people around the world of all cultures, genders, sexual orientations.

Jumping up the pace, girli wishes for a moment where the roles are reversed. Dreaming about, “If I could be king for a day” she would be able to move through the day confidently; and if assaulters and apologists “could be the queen for a change” so they get to experience the same actions and feel the aftermath that stays with it. It’s less a wish for revenge and more a wish for compassion and empathy, but coming to the fact that many people will only believe it if they could see, hear and feel it all for themselves. She says that anyone in her place would “feel the rage”, and someday when that rage is felt will be when everything improves and people like girli can do anything and everything they want to.

The playthrough of it’s just my opinion reads as chapters of the lifelong story of the average girl-next-door: the sensual dance-pop ode of ‘Light In The Dark’; the powerhouse queer heartbreak anthem of ‘Lifestyle’; and the chant-worthy story about friends turned lovers of ‘Better Undressed’. With ups and downs, good mornings and bad nights, the story comes to a close with the satisfying seal that is ‘The Answer’. With a range of topics of ambiguity, disappointment, uncontrollability and heartache, this is the most fulfilling way to close this record.

‘The Answer’ is a romantic fantasy that is as high in the sky as it is planted in the ground. It’s a reminder that love and passion is still real and still out there, and that it can happen in everyone’s lifetime in one way or another. This is a track that will be a favourite of the fans, as well as a favourite for live performances. That layered callout of, “You’re the answer” will be a popular one in many gigs to come, and will mean even more for the strong-held community that’s been built between girli and her fanbase.

Since she debuted in the scene in 2015, girli has only been rising higher and higher while growing stronger and braver, and with a decade under her belt with it’s just my opinion, it looks like she’s found her footing in music. She is the voice of a new alt-pop blend of pro-feminist ideals and counter-culture authenticity. But really, it’s just my opinion…

Words by Jo Cosgrove

Three years on from their last project, Ohio’s own alternative underdogs take another medley of influences and weld it into a transient and catchy electro-punk masterpiece to usher in their all-new album ‘Halcyon Blues’.

Citizen are a truly brilliant project that has often gone just under the radar when talking about bands in their genre and beyond, and they’ve come back to show yet again why this is a mistake. ‘Highs and Lows’ is the debut single of their new album, a project that sees them venture further and further from the norm while still keeping it tight and punchy. With the angsty feel of the last album, ‘Calling the Dogs’ settled and became a consistent part of the live set now, it’s awesome to see such a long-established band with a distinguished sound keep taking risks the way they have with this new album. Every project seems to be what they’re into, and the music flows so well because of it. While it’s distant from the original tracks of ’Youth’, the album that garnered their popularity, each new sound is individual, pulling from all different areas of music, making it both impossible to pin down the genre and impossible not to admire the tenacity of their songwriting decisions. 

‘Highs and Lows’ is a bright and vibrant rock track with pragmatic and concise chord patterns that contrast with the wholly unpredictable drum patterns that accompany the song’s constantly changing paces. The addition of the electronic elements is stronger than ever on this album, and it works perfectly to build a deep, expansive atmosphere while still allowing the song to feel pop-esque and wildly catchy. This blend of unpredictability and thorough songwriting, with a Twenty One Pilots-style atmospheric alt-pop buildup, is genius and keeps the track both an easy listen and in-depth. It’s great to see Citizen keep taking these gambles with their songs and for them to continue to pay off so well, especially considering the scene they preside within is not usually one that reacts well to drastic change. That being said, the change in sound and the stylistic difference within ‘Highs and Lows’ still contain the soul and emphasis that make their projects so individual and identifiable. 

Clocking in at nearly seventeen years as a band its great to see them keep smashing it with every new record and seeing how the songwriting and the people that write those songs develop as time marches on. Citizens' all-new album, ‘Halcyon Blues’, is set to be released on August 7th of this year via Run For Cover, a label the band have been long-time members of. As we wait patiently for more tracks to sink our teeth into, we can only hope that they stay as consistent as they are and that we get to see this LCD Soundsystem fan side of Citizen a little more often. 

Words by Josh Pook

Dundalk shoegazers Just Mustard are as mesmerising as ever, playing a sold-out show at London’s Electric Brixton on Wednesday night. 

Showcasing their unique sound - a fusion of ethereal, haunting vocals, dark, warped guitars, distorted synths and unfaltering drums - Just Mustard put on a truly captivating performance at a sold-out Electric Brixton on Wednesday night. The Irish five-piece have been on tour following the release of their third album, WE WERE JUST HERE, at the end of last year, and they have been on a consistent ride to the top. Having built up a cult following after the release of their debut album, Wednesday, in 2018, and furthering their success with second album Heart Under in 2022, their live show only cemented their unwavering talent. 

Support included Dublin-based artist Cruel Sister and Limerick’s finest THEATRE. Cruel Sister, aka Faith Nico, falls into a similar genre as Just Mustard. Her sound combines shoegaze and grunge together, with the occasional venture into the dreamy pop sphere. With echoing vocals and distorted guitars, Cruel Sister gives the crowd a glimpse of what’s to come throughout the rest of the evening.  

Limerick-based band THEATRE are next in line to warm the crowd up, and by that point, Electric Brixton has properly filled up. THEATRE have been slowly building a name for themselves through their live performances, having supported the likes of Gurriers on tour last year. And, with multiple slots over the 2025 Festival period, the band already had a mass of people onside well before releasing their first single, which only came out in April. The crowd seems entirely mesmerised by the five-piece, whose set is equal parts haunting and intoxicating. Their sound is precise - a consistent percussion, heavy, intricate guitars and distinct, ethereal vocals. It’s hard to put THEATRE into one genre, a fusion of alt-rock, indie, post-punk. Witnessing THEATRE live makes it easy to understand how they gained their following before ever releasing any music. When a crowd are singing your praises long after you’ve left the stage, you know you’re doing something right.

There was a buzz throughout the venue as the crowd waited for Dundalk shoegazers, Just Mustard, to take to the stage. The band came out in a haze of purple light, kicking off their set with track ENDLESS DEATHLESS, a clash of drums, siren-like guitars, and vocalist Katie Ball’s haunting, childlike vocals, the crowd already swaying on their feet, in a trance. They flow effortlessly between tracks, heading straight into SILVER, which has a bit more of a flurry to it, while OUT OF HEAVEN is more distorted still. Wailing guitars, heavy distortion and an extra level of depth created by the addition of David Noonan’s vocals. 

There’s a heavy, ominous energy during I Am You, it’s eerie, impregnable, all thunderous noise and droning hums, Ball’s vocals ghost-like, maddening. Elevated further by the well-thought-out lighting that accompanies each of their tracks. The band are lit up in a haze of red and pink during crowd favourite Deaf, from their debut album Wednesday. The easily recognisable opening pluck of Rob Clarke’s bass earning a cheer from their captivated audience. The pulsating bass, grunge-like guitars, and Ball’s ethereal vocals have the crowd in a trance, with the song reaching its climax through Noonan’s powerful wails. Frank is another powerful display of talent from the band, the tension-building thrum of the bass, pulsating drums, maddening guitars and piercing, hypnotising vocals “I watch TV to fall asleep / and I can fly in my dreams.”       

Just Mustard continue to flow seamlessly through their setlist, the wailing guitars, palpitating crash of drums and whisper-like vocals of Pigs leads directly into POLLYANNA, the first single from their latest album WE WERE JUST HERE. The opening alarm-like distortion immediately has the crowd swaying, picking up speed with the hammering of the drums. POLLYANNA live feels otherworldly, a track offering a form of escapism for Just Mustard’s audience. 

The band close out their set with title track WE WERE JUST HERE, which, while still containing the familiar industrial sound of Just Mustard, the jagged guitars and electronic-like beat give it a lighter, dreamier air. The stage is a mix of green and purple swirling lights, and Ball’s voice creates a sense of euphoria within the venue. It’s followed by the heavy, bone-rattling Seed from Heart Under, which is darker, more menacing, Just Mustard at their finest.

It is no wonder that their gig was sold out, with Just Mustard being as mesmerising and captivating as ever live. With a US tour and a number of festival gigs ahead of them this summer, including Latitude and End Of The Road, they are definitely a band worth making an effort to go and see. Their distinct sound will be ringing in your ears for days after, in the best way possible.

Words by Angela English
Photography by Harry Wassell