It’ll come as no surprise that politics runs through Beautiful Days like a stick of rock. The Levellers – who founded the festival, and happen to be from Brighton – take their name from a radical 17th-century political movement. Revolution, it’s fair to say, is their entire vibe.

That politics comes in several different flavours. Billy Bragg, the old lion, holds court at a rammed main stage on Friday night. Hate to be negative, but Billy Bragg leaves me cold. “One thing I’ve found, after 40 years of doing this,” he says. “Is that music won’t change the world.” Nice one. “It’s up to the people.” Alright? Yet here he is, prosperous as a dentist in his crisp suit and Audi driver specs, pontificating on the ills of society . Maybe go back to arguing the toss with JK Rowling on Twitter, mate.

Far more interesting fare is on offer elsewhere. Steve White & The Protest Family at the Rebel Tent, bracing, rough-and-ready punk tackling the cost of living from a gang of lads who look like they understand the parlous state of modern Britain all too well. “Evidence-based punk rock” they call it, what’s not to like? Their new national anthem is well worth a spin, check ‘em out.

I must confess I had low expectations for Bar Stool Preachers – the name, the logo kerning. How wrong I was. Raucous balls-out frontman energy from Tom McFaull, barnstorming tunes and a plausibly plainspoken message of solidarity that goes down like a crisp cold cider with this baking Saturday lunchtime crowd.

Similarly upbeat, Skinny Lister’s infectious brand of piratical punk, and gypsy-coded heavy artillery from Gogol Bordello has us all up as the sun dips below Escot House.

I very much enjoy Lisa O’Neill, a reminder of the deep folk roots of this scene. Her Irish accent is thick as fog, her melodies ancient as granite boulders – and all around her swirls a danse macabre of contrabass, harmonium and hammered dulcimer. Haunting airs that skew political with a memorable lament for Jason Arday, god rest his soul. “No matter how bad a moment might feel, don’t worry,” she intones. “There’s always another moment on the way.” Goosebumps, mate.

Skindred, ehhhh. There’s a lively debate to be had about bands who (whisper it) are a little light in the hits department. Do you stolidly crack on with deep cuts for 40 minutes, hoping the crowd will look favourably on you? Or do you pad out your set with covers? To my mind, Skindred take the piss. Come on lads. ‘Jump Around’, really? The fucking Jet2 Holiday theme? Have a word with yourselves.

The Proclaimers – who have, what, three hits? Four? – are having none of that. And they’re all the better for it. This pissed-up Friday night crowd, bobbing about all jocular in their tam o-shanter hats, are clearly willing the twins to crack on with 500 Miles. You know what though? Despite being dragged along by the wife, I love every second of their set. Masterful tunesmiths, their voices still strong and resonant, that mad Sid James bastard hammering the toms at the back, a first-class live act.

Ditto Steeleye Span. Hands up, didn’t know who they were. Wander in, instantly bowled over by their slick stagecraft, dream theatre arrangements, everything neat and trim and on-point. I make a note, at the time, that I expect the crusty caravan-shaggers outside probably consider them a bit squeaky clean. Am I right? Who’s to say. They’ve been around since 1969, what the fuck do I know.

Yeah, crusty. It’s a crusty festival. Of course it is. Most punters have a story about breaking in through the fences, back in the day, before their knees went. But let me tell you, the crustyverse is a fine place to be. Henna tattoos, songs lampooning ‘that fascist bastard Farage’, proper cider from a keg. Punch and Judy, barefoot kids. Lovely.

Besides, it’s not all crusty. Madness, always a good laugh, have this resolutely ooo-arr Devon mob lustily singing along in Suggs estuarine accent. Samantics, a local lad, holds the Little Big Top rapt with his delightfully witty singalongs. The Divine Comedy, suited and booted, have the swankiest roadie on earth, who at one point wheels out a drinks trolley for Neil Hannon to whip up cocktails for the band while crooning acid swing invective about Trump.

The grub on site was spot on – paella, burritos, Japanese street eats, loaded fries, a tour-de-force of flavour that kept every palate happy. Bravo.

What else? DJ Yoda, criminally underrated and the best DJ here by a mile, a winning smile plastered on his face as he skilfully slaloms between oldschool bangers, the IT Crowd theme, Flowdan and Bowie. A proper turntable technician.

Kirk Field, local author, poet and rave‑era raconteur, pops up everywhere from the Bimble Inn to the toilet queues, unleashing acid‑house nostalgia with a wink. His rave‑generation poetry has the old heads grinning knowingly, remembering their own 90s chemical baptisms.

Meryl Streek detonated Sunday at midday sharp – political rap barked over feral hardcore guitar with a live drummer who appears to be powered by pure spite. He laughs about the early slot, but by the end it’s obvious – he’s woken the entire site. His new record Stories They Don’t Teach You at School lands 9 October, pre‑order it, it’s a belter.

Local heroes Sound of the Sirens open The Big Top in style, walking out to The Sound of Silence and fully committing to the gag with wigs and a moustache in honour of Simon & Garfunkel. Their set is upbeat, joyous and exactly the lift everyone needed to kick off the final day of the festival.

Snayx on Sunday afternoon charm the pants off me with their anti-establishment patter, baiting the pigs, pilgrims to the Prodigy. Another cheer for Palestine. That game all the kids play, sneakily clipping pegs – gorgeously decorated – on the dozy brims of unsuspecting hats.

Dublin’s Gurriers bring serrated post‑punk energy to the main stage, a tight, urgent set that wins them a fresh wave of fans ahead of their sophomore album Nobody’s Coming to Save You on 25 September.

Nova Twins tear through a high‑voltage set, blistering bass and guitar solos ricocheting across the field. A live drummer adds extra muscle, a canny move for the larger festival stage.

The Wonder Stuff, just before The Levellers, lean hard into their early catalogue – exactly what this crowd wants. Any mention of new material gets a polite shrug, but Miles Hunt keeps trying anyway, grinning through the indifference like a man who’s seen it all.

As the final hours of the festival slip away, crowds gather in the main arena for The Levellers, taking the stage for their 24th consecutive year at Beautiful Days. Curating a setlist to satisfy every corner of their fanbase must be a tall order, but they delivered, and it all pops off. No fireworks this time, fair enough on this incendiary August.

And god bless the crusties – you’ll never see more punters splayed on the grass, reading actual books. And get this. There’s basically zero screens at Beautiful Days. Barely anyone is on their phone. There are no screens in the DJ tent, or for that matter either side of the main stage.

The revolution, it appears, will not be televised.

Words - Andy Hill

Pictures - Steve Muscutt

Prince Buster – Blue Beat Hits (The Blue Beat Label, released August 7th 2026) is a lovingly remastered time capsule of ska’s formative years, Blue Beat Hits lands as both a celebration and a reminder, before 2 Tone, before Mod revivals, before British chart‑friendly ska, there was Prince Buster, the architect whose swagger, humour and rhythmic invention shaped an entire musical language.

The Blue Beat Label’s new remastered edition brings together some of Buster’s most defining singles, tracks that not only soundtracked Kingston sound systems, but later became the blueprint for mainstream acts including Madness, The Specials and The Beat. The label’s retro‑modern packaging leans into its heritage aesthetic, but the real magic is in the sound, these recordings feel punchier, clearer, and more vivid without losing the grit that made them classics.

If there’s a single track that captures Prince Buster’s cinematic flair, it’s “Al Capone” - Its iconic tyre‑screech intro still lands like a warning siren, a sonic motif so strong that The Specials later echoed it on “Gangsters” effectively bridging 1960s Kingston with late‑70s Coventry.

What makes “Al Capone” endure, is its effortless swagger, Buster’s vocal delivery is half‑sung, half‑spoken, leaning into the mythology of the gangster figure while the horns punch out a rhythm that feels both playful and dangerous. In this remastered edition, the brass feels brighter and the percussion sharper, giving the track a renewed sense of urgency. As well as being a ska classic, it’s also a cultural touchstone that shaped the sound of rebellion across decades.

Most listeners know “One Step Beyond” through Madness, but hearing Prince Buster’s original again, especially in this cleaned‑up remaster, is a revelation. The track is leaner, rawer, and more rhythm‑driven than its 2 Tone counterpart. Buster’s version is built around a hypnotic horn riff and a relentless forward motion that feels like a dancefloor command rather than a pop anthem.

The remaster highlights the track’s percussive detail, the shuffle of the drums, the tight interplay of horns, and the subtle vocal interjections that give it real personality. It’s a reminder that Buster wasn’t just writing songs, he was engineering movement. “One Step Beyond” is ska distilled to its purest form: urgent, joyful, and impossible to stand still to.

There are a further nine cuts to dive into on the record, and a few in particular deserve your attention: Rough Rider, a cheeky, charismatic cut later reimagined by The Beat, feels especially fresh in this remaster with its playful vocal nuances brought into sharper focus; Madness, the track that famously gave the band their name, still brims with attitude and that unmistakable Prince Buster swagger; and Enjoy It (Enjoy Yourself), a timeless singalong anthem, lands with renewed vibrancy thanks to the Blue Beat Label’s crisp restoration work.

For collectors, Blue Beat Hits is essential crate‑digging, a chance to own foundational ska singles in their best‑ever audio quality. For newcomers, it’s an entry point into the roots of a genre that shaped British youth culture from the 1960s through punk, 2 Tone, and modern ska revivals. And for everyone else, it’s simply a joyous reminder of how far Prince Buster’s influence stretches.

Track Listing

Side A

A1 Madness

A2 Cincinati Kid 

A3 Sit and Wonder

A4 Wash All Your Troubles Away (Wash, Wash)

A5 Al Capone 

A6 Wine and Grine 

Side B

B1 Dance, Cleopatra 

B2 Rough Rider

B3 One Step Beyond 

B4 Sit and Wonder 

B5 Enjoy It (Enjoy Yourself)

Prince Buster - Blue Beat Hits - OUT NOW

She’s In Parties arrive at this year’s Big Feastival with momentum that most young bands can only dream of. Fresh from supporting White Lies, tearing through a slew of UK festivals, and earning a long‑list nod for Best Live Performer at the AIM Awards, the Essex/London outfit step onto the Feastival main stage with confidence, chaos, and a whole lot of charm.

During our chat, the band were in classic form: playful, self‑deprecating, occasionally feral, but always honest. What follows is a snapshot of a group still evolving, still experimenting, and still very much enjoying the ride.

The band officially took shape around 2019–2020, with members joining from across Essex and London. As they put it:

“We say something like 2019/2020 as the formation of the band—some of us joined later, but that’s when the band was born.”

Their sonic identity—an atmospheric blend of dream‑pop, shoegaze, and indie, has been shifting ever since. They jokingly describe their evolution as “musical puberty,” a phase they’re still very much in.

“We’ve gone from writing everything from guitars to exploring synths and working with other producers.”

Influences range from The Cure and Tears for Fears to Wolf Alice, Lime Garden, and newer acts like Maruja. They’re voracious listeners, constantly absorbing new textures and approaches.

One of the most exciting developments has been collaborating with outside writers and producers, opening up new creative pathways:

“We usually start writing songs with drums or a melody… it broadens the spectrum of ways we can write, and it always changes into something we don’t quite expect.”

This experimentation is feeding directly into their upcoming debut album. Yes, it’s written—and yes, it’s coming.

Fans will be thrilled to hear the band’s first full‑length record is already in the bag:

“It’s written… it’s just finding time in the studio and funds to support the cost.”

They’re aiming for early next year, with a tongue‑in‑cheek working title floated during the interview:

“Let’s go with Dead Weight… sounds a bit emo.”

Expect a fuller, more electronic, more expansive version of the band you’ve seen so far.

The Big Feastival is as much about food as music, so naturally we asked about their festival favourites. The answers were… eclectic.

Herbie warned everyone to avoid Yorkshire pudding wraps after witnessing a food‑poisoning fiasco at a previous festival. Charlie and Matt opted for the safety of pie & mash—“you can’t really go wrong with that.”

Staying on the food theme, I asked what they’d serve if we visited She’s In Parties HQ for dinner.

• Herbie’s starter: A childhood classic—frankfurters and ketchup between sliced bread.

• Charlie’s main: A tour‑tested risotto “coloured yellow like iodine… you’re definitely not going to get any infections eating that!”

• Matt’s dessert: Giant Danish pastries filled with cream and jam, courtesy of White Lies’ green room in Copenhagen.

Unhinged? Absolutely. Filling? Definitely.

Their picks for next year’s hypothetical Big Feastival headliners:

• Herbie (Friday): Static Dress or Thornhill

• Charlie (Saturday): Empire of the Sun

• Matt (Sunday): Fontaines D.C.

“Fontaines are great… they’ve got a new album coming soon—the perfect way to close the festival!”

On whether AI has a place in music creation, Herbie didn’t hold back:

“AI is the tool for dumb people to make them feel smart or creative when they’re not… it’ll be terrible, but you think it’s cool because it’s better than what you could have created.”

A bold take, delivered with the kind of candour that makes interviewing this band so fun.

The band spoke proudly of the growing indie scene in Essex:

“There’s a lot of young bands coming out… plenty of indie poo, and no, I’m not going to name names!”

They joked about waiting to see their name appear on the viral Indie Poo League ‘The Poomier League’ - a satirical social‑media ranking system cataloguing rising UK indie guitar bands.

No interview is complete without the most important question of all: What is your favourite cheese?

• Herbie: Comté, eaten straight—no crackers, no bread.

• Charlie: Babybel or melted mountain cheese scraped fresh, served with crackers or baguette.

• Matt: Strong mature cheddar with crackers and grapes.

Matt wins. Obviously.

Before Big Feastival, the band support Becky Hill in Colchester—an almost hometown moment before their main stage appearance over the August Bank Holiday weekend.

She’s In Parties are a band on the rise: funny, self‑aware, musically adventurous, and ready for their next chapter. Their Big Feastival set is shaping up to be one of the weekend’s essential stops.

Catch them: 13:15pm, Main Stage, Saturday 29th August.

Interview by Steve Muscutt

A landmark year for UK independent music as the godfathers of drum & bass receive the Innovator Award and the full list of nominees is unveiled

The Association for Independent Music (AIM) has announced the final wave of nominees for the 2026 Independent Music Awards — and at the heart of this year’s celebration sits a moment of long‑overdue recognition. Drum & bass pioneers Fabio & Grooverider will receive the prestigious Innovator Award, honouring more than three decades of boundary‑pushing influence that helped shape UK club culture as we know it.

Taking place at The Roundhouse, London, on 22 September 2026, the ceremony will once again spotlight the artists, labels, directors, record stores and behind‑the‑scenes teams who keep the UK’s independent sector vibrant, inventive and defiantly future‑facing.

Few artists embody the spirit of UK independence like Fabio & Grooverider. From pirate radio to global festival stages, their fingerprints are all over the evolution of jungle and drum & bass — genres that began in sweaty basements and now echo across the world.

Their influence isn’t just musical; it’s cultural. They championed new artists, pushed sonic boundaries and helped transform underground club energy into a defining part of Britain’s musical identity.

The duo said:

“We’re incredibly proud to be receiving the Innovator Award. We’ve spent our lives pushing this music forward, breaking boundaries and staying true to what we believe in, so to be recognised for that journey means a lot to us!”

The newly announced nominees paint a picture of a sector thriving on eclecticism, risk‑taking and artistic individuality.

• Jim Legxacy tops the nominations with three nods, tying with Fcukers, who are shortlisted for Best Independent Track, Best Independent Album and Independent Breakthrough.

• Heavyweights including Mitski, Thundercat, Clementine Douglas, and Robyn also feature across categories.

The Best Independent Video category is a standout this year, with directors such as:

• Yorgos Lanthimos for Jerskin Fendrix’s surreal “Beth’s Farm”

• Noel Paul for Mitski’s “Where’s My Phone”

• Léa Esmaili for Thundercat’s “She Knows Too Much”

• Zak Watson for Antony Szmierek’s “The Heron”

• OCURENS for Tinie Tempah, Skepsis & Carla Monroe’s “Eat It Up”

It’s a category that consistently showcases the independent sector’s visual imagination — often stranger, bolder and more emotionally charged than major‑label output.

Independent labels remain the lifeblood of UK music, and AIM’s nominations reflect that:

Best Independent Label Ninja Tune, Dead Oceans, FAMM, Tru Thoughts, Because Music

Best Boutique Label Big Scary Monsters, Black Acre, Sweardown, TLD Records, untitled (recs)

These are the teams who take risks, nurture emerging artists and build communities — often without the resources of the majors, but with far more cultural impact.

AIM continues to champion the full ecosystem of independent music.

Best Independent Record Store

Applestump Records (Nantwich), Jacaranda Records (Liverpool), Just Dropped In (Coventry), Ignite Record Store (Birmingham), Slow Century Records (Solihull)

These shops remain vital hubs for local scenes — places where discovery still happens face‑to‑face.

Best Live Performer

Amelia Coburn, Billy Lockett, High Fade, Katherine Priddy, The Molotovs

A category that highlights artists who’ve built reputations the old‑fashioned way: on stage, in front of real people.

Best Catalogue Release

From Lush’s Gala (2025 Remaster) to Orbital’s The Brown Album, this category celebrates labels who treat legacy music with care, imagination and respect.

AIM CEO Gee Davy emphasised the importance of recognising the full breadth of the independent sector:

“The Independent Music Awards exists to spotlight many of those who contribute so much to the UK’s rich musical landscape and would otherwise go unnoticed… Though each category can only have one winner, we salute all of the nominees and the long list of submissions.”

It’s a reminder that independence isn’t just a business model — it’s a culture, a community and a commitment to creativity over commerce.

The Independent Music Awards will bring together artists, entrepreneurs, labels, directors, record stores and fans for a night celebrating the people who keep UK music interesting.

📍 The Roundhouse, London 📅 22 September 2026

The full nominee list, including previously-announced categories, can be found here

Levelling the Land is being reborn. For its 35th anniversary, the Levellers have gone back to the original tapes, unearthed lost demos, and rebuilt the album with the sonic weight it always deserved. What emerges is a definitive edition of one of Britain’s most important folk‑punk records, a release that feels less like nostalgia and more like cultural renewal.

When Levelling the Land landed in 1991, it crystallised a mood. Britain was exhausted by Thatcherism, disillusioned by the post‑80s musical slump, and hungry for something raw, real and defiantly human. The Levellers delivered exactly that.

Recorded at Ridge Farm Studios and produced by Al Scott, the album captured the band’s firebrand spirit with songs that became instant fixtures of the UK’s alternative landscape.

Alongside them, deep cuts like The Game, Liberty Song, The Riverflow, Boatman, and the still‑devastating Battle of the Beanfield cemented the Levellers as a band who could fuse protest, poetry and pop instinct with rare precision.

The album went platinum. The band became a movement. And yet, as fiddle player Jon Sevink admits, the record never quite captured the full force of the Levellers live.

Sevink’s honesty is refreshing: the original mix was a product of its time. Early‑90s technology, label anxieties about bass frequencies “making car speakers fart”, and the limitations of 24‑track analogue tape meant compromises were baked into the sound.

But 2026 offers something the band never had: the ability to remix the album from the original multi‑tracks with modern clarity, without losing its soul.

Sevink called producer Al Scott with the idea. Scott jumped at it. The result?

“A wider stereo image… more space between instruments… sounding current without losing sight of the album everyone knows and loves.”

This is a restoration — the album as it should have sounded.

The 35th anniversary release arrives in two formats:

• Single Vinyl Edition — mirroring the original tracklist

• Expanded 3CD Digipack — packed with B‑sides, out‑takes, demos and long‑lost material

And the “lost material” isn’t marketing fluff. Sevink’s search through old tapes uncovered a cassette labelled “Demos of the LP” — unheard for nearly 30 years. These early versions now form part of the expanded release, offering fans a rare glimpse into the album’s genesis.

“Forget the anniversary — it’s just a number. What matters is that this definitive collection is finally seeing the light of day.”

Few album covers are as instantly recognisable as Levelling the Land. Designed by bassist Jeremy Cunningham, it’s become a cultural artefact in its own right, printed on hundreds of thousands of T‑shirts, posters and banners.

Cunningham’s vision expanded the Levellers’ visual universe:

• The two figures from A Weapon Called the Word return, but now they’re dancing, not confronting.

• They dance through a fractured landscape: idyllic countryside on one side, industrial wasteland on the other.

• The rivers become roads. The figures choose to dance out of the wreckage.

It’s a perfect visual metaphor for the Levellers’ music: weighty lyrics carried by melodies that feel like escape routes.

Because the themes of Levelling the Land, inequality, resistance, community, hope, haven’t aged. If anything, they’ve sharpened. Because the Levellers remain one of Britain’s most enduring grassroots bands, still fiercely independent, still politically awake, still capable of filling fields and festival tents with people who believe music can mean something. And because this release isn’t about nostalgia — it’s about completion. The album finally sounds the way the band intended. The lost demos finally have a home. The artwork’s world feels newly relevant.

This is Levelling the Land restored, expanded, and re‑energised.

LEVELLERS - LEVELLING THE LAND: 3CD
CD1: LEVELLING THE LAND - REMIX BY AL SCOTT
1. One Way
2. The Game
3. Fifteen Years
4. The Boatman
5. Liberty Song
6. Far From Home
7. Sell Out
8. Another Man’s Cause
9. The Road
10. The Riverflow
11. Battle of the Beanfield
 
CD2: BONUS TRACKS
B-SIDES
1. Dance Before The Storm
2. Hard Fight
3. The Devil Went Down To Georgia
4. Last Days Of Winter
5. Plastic Jeezus
OUTTAKES
6. Liberty Song
7. The Road
8. Far From Home v1
9. Boatman Jig v1
10. Plastic Jeezus
11. Fifteen Years
12. Another Man’s Cause
13. Far From Home
14. One Way (Dance Mix)
 
CD3: LEVELLING THE LAND DEMOS
1. One Way (Demo)
2. The Game (Demo)
3. The Boatman (Demo
4. Liberty Song (Demo)
5. Far From Home (Demo)
6. Sell Out (Demo
7. Another Man’s Cause (Demo)
8. The Road (Demo)
9. The Riverflow (Demo)
10. Battle Of The Beanfield (Demo)
11. The Devil Went Down To Georgia (Demo)
12. Last Days Of Winter (Demo)
 
LEVELLERS, LEVELLING THE LAND - REMIX BY AL SCOTT: 1LP
 
SIDE ONE
1. One Way
2. The Game
3. Fifteen Years
4. The Boatman
5. Liberty Song
6. Far From Home
SIDE TWO
1. Sell Out
2. Another Man’s Cause
3. The Road
4. The Riverflow
5. Battle of the Beanfield
 
Levellers are celebrating the 35th anniversary of Levelling The Land by hitting the road. The tour starts with the band performing at Beautiful Days, the festival they founded 23 years ago, with a show in Salisbury before performing a huge open-air headline show in their hometown of Brighton on September 5th. Further dates run through October and November.
 
The full list of dates for the Levelling The Land 35th Anniversary Tour are:
 
21- 23 Aug – Beautiful Days Festival SOLD OUT
04 Sep - Salisbury City Hall SOLD OUT
05 Sep - Brighton Hove Park FINAL TICKETS
16 Oct - Koln Live Music Hall [DE]
17 Oct - Maastricht Muziekgieterij [NL] SOLD OUT
18 Oct - Leuven Depot [BE] SOLD OUT
20 Oct - Holmfirth Picturedrome SOLD OUT
21 Oct - Holmfirth Picturedrome SOLD OUT
22 Oct - Belfast Mandela Hall
23 Oct - Dublin Vicar Street
24 Oct - Glasgow Barrowland SOLD OUT
29 Oct - York Barbican SOLD OUT
30 Oct - Llandudno Venue Cymru SOLD OUT
31 Oct - Blackpool Empress Ballroom
19 Nov - Nottingham Rock City SOLD OUT
20 Nov - Bristol Prospect Building SOLD OUT
21 Nov - London Hammersmith Eventim Apollo SOLD OUT

'Fifteen Years (Outtake)' is out now, and you can listen to it and pre-order the 35th Anniversary Edition album formats by clicking HERE
 

Connect with Levellers 
Website | Instagram | Facebook | Bandcamp | YouTube

Mallory Knox have never been a band that simply carried on. Every era of their career has been marked by intent, by a desire to push forward, to refine, to evolve. But their latest chapter feels different. It feels like a return, a restoration, and a reimagining all at once.

When Mikey Chapman stepped back into the spotlight at Slam Dunk 2024, it was a jolt of electricity through the British alternative scene. His voice, the one that powered Signals, Asymmetry and Wired into the UK charts, was suddenly back where it belonged: at the centre of Mallory Knox’s widescreen emotional intensity.

The reaction was immediate. Fans who had lived through the band’s rise felt the spark all over again, while younger crowds discovered why Mallory Knox once stood shoulder‑to‑shoulder with the biggest names in British rock. Chapman, James Gillett and Dave Rawling didn’t just revisit the past, they reignited it.

Across three albums, Mallory Knox carved out a rare position: critically respected, commercially successful, and fiercely loved.

• Signals (No. 33 UK Albums Chart)

• Asymmetry (No. 16)

• Wired (No. 18)

Two No. 1 Rock & Metal Albums. A No. 1 Record Store Chart. BBC Radio 1 playlist support. A single — Ghost in the Mirror — that cracked the UK Top 100 and became a generational anthem.

Their live résumé reads like a victory lap: Reading & Leeds, Download, Slam Dunk, Rock am Ring, Warped Tour. Sold‑out headline shows at Electric Ballroom, KOKO and the Roundhouse. Covers of Kerrang! and Rock Sound. Award nominations. Critical praise that consistently highlighted their sincerity, their chemistry, and their ability to make alt‑rock feel cinematic.

Chapman’s return restored a dynamic that had always been central to Mallory Knox’s identity. The Slam Dunk main stage became the site of a rebirth, followed by a triumphant tenth‑anniversary tour for Asymmetry that proved the songs still hit with the same force they did a decade ago.

The band weren’t content to bask in nostalgia. They were already writing.

Over the past year, Chapman, Gillett and Rawling have been quietly building something new. The forthcoming EP doesn’t chase the past, it builds on it. Huge hooks. Crushing guitars. That unmistakable vocal interplay. A cinematic atmosphere that feels both familiar and revitalised. And lyrics that carry the weight, perspective and clarity of musicians who’ve lived a lot of life since their early triumphs.

This is Mallory Knox with renewed purpose. A band stepping forward with confidence, experience and a sharpened creative vision.

Released on 17 August 2026, Afterglow marks the first official step into this new era. It’s the sound of a band rediscovering its centre, and pushing beyond it. Chapman’s voice is once again the emotional anchor, surrounded by the muscular, melodic intensity that made Mallory Knox resonate so deeply in the first place.

With new music, live plans and a revitalised lineup, Mallory Knox are opening the books once again. The passion that first brought them together is still there, but now it’s paired with clarity, maturity and a sense of direction that feels unmistakably like a second act.

The next chapter starts here.

Manchester’s lo‑fi indie duo Succulents have always carried the charm of a band you feel you’ve known for years, the kind who could be rehearsing in the terrace house next door, windows steamed, guitars slightly out of tune, harmonies sweet enough to fog the glass. With their new single ‘Work It Out’, they take that familiar intimacy and fire it into a sub‑three‑minute burst of fuzzed‑up joy that cements them as one of the most quietly exciting DIY acts emerging this year.

Released as the follow‑up to their February debut ‘Underdog’, the track arrives with a run of UK dates alongside cult favourites CUD and Coup Dur, marking the duo’s first proper stretch beyond their Manchester base. It’s a confident step for a band who’ve already begun carving out a distinctive identity — not just in their recordings, but in their wonderfully oddball live set‑up, where tape cuts and playful performance collide in a way that feels both nostalgic and new.

‘Work It Out’ sits somewhere between US college‑rock scruffiness and the tender British indie lineage of Belle & Sebastian, The Moldy Peaches, and The Pastels. It’s unpretentious, melodic, and proudly unpolished — the kind of track that doesn’t hide its seams, and is better for it.

Distorted guitars swirl into a cloud of warm fuzz, while Laurie Hulme and Lucy Ridges trade vocals with a sincerity that feels almost disarming. Their harmonies have that candy‑floss sweetness Succulents are quickly becoming known for, but there’s a bite underneath: a deceptively simple warning — “be careful what you wish for” — that anchors the song’s emotional core.

Hulme describes the track as a reflection on conflict resolution, but also on the strange apathy that creeps in when arguments become constant background noise — protests, politics, online spats, the endless churn of outrage. The protagonist isn’t indifferent, exactly; they’re exhausted. Avoiding conflict doesn’t make it disappear, and the song sits in that uneasy space between disengagement and responsibility.

Succulents’ charm has always been tied to their willingness to experiment in small, tactile ways. For ‘Work It Out’, Hulme used a capo he’d literally sawn in half, leaving it to cover only four strings. The resulting voicings give the track its distinctive character — and create a slightly surreal visual moment on stage, where his fretting hand swings around the neck in unexpected ways.

It’s a tiny detail, but it speaks volumes about the band’s ethos: playful, curious, and quietly inventive.

Succulents only made their gigging debut earlier this year at South Manchester’s cult All The Range night, followed by a slot at Manchester Popfest in June, sharing the bill with indie royalty Gina Birch (The Raincoats), BMX Bandits, and Lande Hekt. Those shows revealed a band with both a distinctive recorded sound and a developing live identity — one that feels rooted in the DIY tradition but never trapped by it.

With more material taking shape, and a growing batch of songs influenced by cult indie touchstones like The Field Mice, Yo La Tengo, The Clean, The Courtneys, and Comet Gain, Succulents are quietly building a world that blends hazy nostalgia with sparky immediacy.

Their newly announced run of UK shows stretches from August to October, taking them from Cheltenham to Edinburgh, Hull to Shipley — a modest but meaningful first step into wider territory.

• Thu 27 Aug – Cheltenham, Steam & Whistle w/ CUD

• Thu 3 Sep – Edinburgh, Bannerman’s Bar w/ CUD

• Sat 12 Sep – Manchester, Klondike Club w/ Coup Dur

• Fri 23 Oct – Hull, The New Adelphi w/ CUD

• Sat 31 Oct – Shipley, Kirkgate Centre w/ CUD

‘Work It Out’ feels like the moment Succulents stop being a promising new duo and start becoming a band people talk about — the kind whose songs quietly embed themselves into playlists, memories, and late‑night conversations. It’s lo‑fi indie pop with heart, humour, and just enough chaos to keep things interesting.

If this is the direction they’re heading, the next few months could be very special indeed.

To find out more about Succulents, their upcoming live performances and new releases, connect with the band online via Instagram

Fletchr Fletchr’s second EP, On The Island We Call Home, lands on Friday 21st August via Polydor and feels like a band levelling up in real time. Across its five tracks, they fuse widescreen indie rock with a lyrical lens that turns modern anxieties into something strangely hopeful.

The songs move with cinematic sweep, from expansive, free‑fall guitar moments to rhythm sections that thrum with purpose, creating an emotional arc that feels both deeply personal and universally relatable. There’s urgency, reflection, and a sense of youthful ambition that never tips into pretence; instead, it feels like a band confidently stepping into their own skin.

What stands out most is how each track contributes to a bigger picture rather than competing for attention. The EP shifts between roller‑coaster intensity and more nuanced, atmospheric passages, always anchored by the band’s unmistakable backbone.

Their ability to craft melodies that burrow in, choruses that crash over you, and instrumental interplay that rewards repeat listens marks them as a group ready to break through.

This is a life‑affirming, full‑colour snapshot of a band on the cusp, and if you’re looking for someone to champion on their meteoric rise, Fletchr Fletchr are absolutely the ones to back.

Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play the festival, which in our opinion is THE BEST in the UK.

We caught up with Devon 5 piece, The Kabins, after their appearance at the famous Keg n' Pasty. We chatted about this being the first time that they had played Boardmasters, their musical influences, what's been happening in their very busy lives and their new track 'Cherry' that EVERYONE should check out at least once in their lives!

We’d like to thank the guys for sparing the time to chat to us after their main stage set, it was the first time for me, and hopefully, it won’t be the last!

Keep up to date with their whereabouts and happenings via her INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play there, which in our opinion is THE BEST stage on offer.

We caught up half of FLETCHR FLETCHR, the band that opened up the main stage at Boardmasters 2026. We chatted about their roots, the road to the main stage after playing The View a couple of years back, their new single and their forthcoming UK tour in September (tickets on sale NOW).

We’d like to thank the guys for sparing the time to chat to us after their main stage set, it was the first time for me, and hopefully, it won’t be the last!

Keep up to date with their whereabouts and happenings via her INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Abbie Piper who performs a beautiful mix of Soul, R&B and Electronic music and chatted about the last time I saw her which was 10 years ago in a bar in Totnes and how her music has evolved since then.

We’d like to thank Abbie for sparing the time to chat to us after her set, it was the first time for me, and hopefully, it won’t be the last!

Keep up to date with their whereabouts and happenings via her INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Jamie Yost after his appearance on The View stage, we chatted about the very first time I saw Jamie play nearly 10 years ago, the beauty that the stage has to offer and what the future holds for Jamie.

We’d like to thank Jamie for sparing the time to chat to me after his set, it may have been a while since we last caught up but it felt like two friends chatting, I can’t wait for the next chapter in his career!

Keep up to date with their whereabouts and happenings via their INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Emily and Tom from Cornish band COSM who perform a fab blend of indie rock, Psych and Shoegaze. We chatted about an 'almost' wardrobe malfunction, the stage crew getting more than just 'The View' and future gigs.

We’d like to thank Emily and Tom for sparing the time to chat to us after their set, it’s always a pleasure to chat to these guys and I look forward to learning about what they are up to next!

Keep up to date with their whereabouts and happenings via their INSTAGRAM page.

Interview by Steve Muscutt

There’s a particular thrill when a band from the mid‑2000s indie boom decides to revisit the UK, not as a nostalgia act, but as a still‑vital, still‑fun, still‑chaotic live force. This August, We Are Scientists are doing exactly that, making an intimate stop at KU Stockton as part of their summer festival run and the ongoing celebrations around 20 years of With Love and Squalor.

For a venue that has quietly become one of the North East’s most reliable homes for touring guitar bands, this booking feels like a statement. Stockton isn’t just getting a fly‑by club show, it’s getting one of America’s most beloved indie exports in a room built for sweat, laughter and close‑quarters chaos.

Formed in 1999, We Are Scientists broke through in 2005 with With Love and Squalor, a record that helped soundtrack a generation of indie kids who lived on NME covers, MySpace playlists and late‑night festival tents. Tracks like The Great Escape and After Hours became staples of the era’s dancefloors, indie discos and student unions.

Two decades on, the band’s core duo, guitarist/vocalist Keith Murray and bassist Chris Cain, remain one of the most entertaining double‑acts in alternative music. Their shows are famously loose, funny, and full of the kind of off‑the‑cuff banter that makes every gig feel like a one‑night‑only performance. Drummer Keith Carne, who joined in 2013, completes the trio with a tight, punchy backbone that keeps the chaos charming rather than messy.

Eight albums in, they’re still writing sharp, hook‑heavy indie rock, but it’s the personality, the humour, and the sense of camaraderie that keep fans coming back.

KU Stockton has spent years building a reputation as one of Teesside’s most important independent venues, a place where local talent grows, touring bands return, and international acts increasingly choose to stop between festival dates.

An official spokesperson for KU summed up the excitement:

“We’re absolutely over the moon to welcome such an iconic band from the American indie and alternative rock scene as We Are Scientists to Stockton for what promises to be one of the shows of the year.”

It’s hard to disagree. The venue’s scale means fans will get something rare: a band who can command festival main stages playing at arm’s length, with all the looseness and intimacy that made their early shows so beloved.

For North East fans, this is a chance to see a band who helped define a moment in indie rock — not in a cavernous arena, but in a room where every riff, joke and chorus lands with full force.

Date: Saturday 29th August at 7:00 pm – 10:30 pm

Venue address: KU Stockton, Prince Regent St, Stockton-on-Tees TS18 1DB

Age Restrictions: 14+ (under 18s must be accompanied by an adult)

For tickets and for more information about the show, please visit: https://www.kustockton.co.uk/event/we-are-scientists/

After a long day, I turned to an online streaming platform, hit ‘random’ and began battling my way home through the rush-hour traffic. Familiar tunes came through the speakers as I sat in yet another traffic jam, when suddenly a guitar riff I didn’t recognise came spilling out, immediately grabbing my attention, leaving me desperate for more.

As soon as I got home, I started digging into The Skinner Brothers, a quirky masked band fronted by Zac Skinner, AKA Soul Boy. The masks intrigued me almost as much as the music, shifting attention away from who was behind them and putting the focus firmly on what was coming through the speakers… absolute genius. 

The more I dug, the more interesting the story became.

The Skinner Brothers had already spent years trying to make it the traditional way in the music industry, only to find themselves repeatedly being dropped by labels for “not staying in their lane”, as Zac once described it. Zac regularly takes to social media, speaking openly about those experiences, saying: “We were always told we didn’t fit in and were dropped by multiple record labels… we spent years wondering if any of this would ever work”

Rather than changing themselves to fit in, he decided to “break out of the mould”, and did it his own way, staying true to himself and producing music he truly loved. Zac has been brutally honest about that decision, writing: “I’ve been fucked over by various managers and labels in the industry in the past and had already made the jump to be fully independent”

Intrigued by what I was hearing and reading, I immediately booked tickets to see them live at The Wardrobe in Leeds; what I experienced there was unlike anything I had experienced at a gig before. Members of the band weren’t hidden backstage waiting for their set; they were taking care of their own security, handing out wristbands and welcoming people as they dedscended into the venue.

This wasn't just a band claiming to be DIY, they were actually doing it all themselves!

Continuing to dig, I discovered that Zac was recording and producing music himself, previously on a broken laptop in a rough area of London, then in little more than a spare room, yet creating tracks that sounded anything but homemade. His wife, Claira does a phenomenal job, managing much of the operation behind the scenes and raising a baby, while the band took control of areas normally handled by a much larger team.

Their music is equally difficult to fit neatly into a box. Indie, punk, rap, drum and bass and even touches of Northern Soul collide in high-energy tracks filled with riffs and lyrics that have a habit of staying in your head long after the song has finished.

Perhaps that refusal to fit neatly into one genre explains why the traditional industry struggled to know what to do with them, but The Skinner Brothers increasingly appear to be proving they don't need anyone else to figure it out for them.

Zac recently reflected on just how far the band has come: “Every single thing around this tour and band has been built independently. From sleeping on floors and playing tiny pubs to selling out 1,500 tickets at Electric Ballroom, what is happening right now is insane, and I can’t thank everyone enough!!”

The numbers are becoming increasingly difficult for the music scene to ignore.

After selling out Scala in London, The Skinner Brothers went on to sell all 1,500 tickets for the Electric Ballroom in just three days, with the band reporting that more than 1,000 had sold within the first hour.

By July, Zac announced that their 2026 UK tour was already more than 90% sold out.

“Honestly, this is mad” he wrote. “We do everything independently… It’s just you guys spreading the word and getting behind us”

And that last part may be the most important ingredient in The Skinner Brothers' success, because according to Zac, they don't have fans, they have a family.

“The Skinner Brothers FAMILY isn’t a fanbase” he wrote. “It’s a group of outsiders, artists, HUMANS, REAL people who’ve been through it and still show up day after day for each other. We talk about life, music, EVERYTHING. It’s REAL. And it’s what keeps this band alive”

It sounds like something every band says about its supporters, until you experience it for yourself at a  Skinner Brothers gig.

That community extends beyond the gigs themselves. Before the gig I attended, Zac publicly asked anyone with accessibility requirements to contact the band directly so they could help make sure they were able to enjoy the show, something as a wheelchair user I have never seen before. The band has also used its growing audience to raise thousands of pounds for the National Autistic Society, Zac’s brother himself being autistic.

The feeling was something I struggled to put into words after that first gig in Leeds, simply saying: “I came for the music, but I stayed for the community”.

The masks themselves also seem to represent more than creating a distinctive image.

An artist who spent years being told he didn't fit into the music industry eventually stopped showing his face to it. In doing so, he helped create one of the most instantly recognisable identities in music today, Soul Boy.

After years of recording songs with whatever equipment he could get his hands on, one of those homemade recordings eventually found its way somewhere Zac could hardly have imagined when he made it.

“A lot of you know we’ve been doing this for years. Getting knocked back, making tunes with whatever equipment we could get our hands on and just trying to keep this band going!” he wrote.

“So it’s pretty mad to think that a song I recorded on a bust up laptop on a bedroom floor has somehow ended up on Nike’s World Cup campaign.”

From a broken laptop on a bedroom floor to Nike. From sleeping on floors and playing tiny pubs to selling 1,500 tickets for the Electric Ballroom, from standing outside Scala to playing to packed out crowds at 2000 Trees festival, The Skinner Brothers have announced their latest tour and released their latest EP, both named Rampage, you can be sure they will be ripping up a stage near you soon!

For a band that were once told they didn't fit in, that's perhaps the most interesting part of their story. Rampage received over a million streams in just a day; clearly, they are doing something right!

Liz Kieran

Forty years into The Wonder Stuff’s existence, Miles Hunt remains gloriously unchanged. He still swears with the precision of a craftsman, still laughs like someone who’s seen too much to take anything too seriously, and still talks about music with the kind of unguarded affection that makes you remember why bands matter in the first place.

When we meet, he’s nursing a cold, a souvenir from a rare trip to London. “I live rurally and I don’t see many people” he says, half‑laughing, half‑complaining. “But I went to London and spent a fucking hour on the tube in rush hour. Exactly 72 hours later, I’ve got a cold.” It’s classic Miles: observational, irritated and amused, all at the same time.

He’s just turned 60, a milestone he marked not with a party, but with a ten‑hour pub residency. “I told my mates, I’ll be in this pub all day if you want to come along” he says. After celebrating his 30th, 40th and 50th in the countryside, he decided it was his turn to go to them. “For the big one.”

It’s a fitting prelude to talking about another milestone: The Wonder Stuff’s 40th anniversary, and the huge UK tour with Inspiral Carpets this October.

Ask Miles whether the anniversary brings disbelief or reflection and he doesn’t reach for sentimentality. He reaches for gratitude.

“We’re very grateful” he says simply. “Blessed that an audience has chosen to stick with us all these years” Only he and Malc remain from the original lineup — “the only living other original member” Miles notes with a bluntness that lands heavily — and that survival gives the milestone a different weight.

It’s less nostalgia, more endurance.

Miles’ memory of the band’s first rehearsal in March 1986 is startlingly vivid. He was 20, a drummer by trade, the “engine room” at the back of the stage. He’d never stood in front of a band with a guitar, never sung into a microphone with amplification behind him.

He borrowed Clint Mansell’s guitar and practice amp, walked a mile to the rehearsal space, and discovered a new version of himself. “I was walking on air” he says. “It was a revelation.” He returned to the flat and confronted Clint: Why didn’t you tell me how fantastic it feels to sing and play guitar in a band?

If his younger self had been told he’d still be doing it 40 years later? “He’d be thrilled”

Asked about what he’s most proud of, Miles doesn’t hesitate…

“The records” he says. “I’m really proud of the records”

He’s written around a hundred songs, and only a “less than handful” are ones he’d prefer never to hear again. Revisiting Never Loved Elvis recently reminded him how much the band, and producer Mick Glossop, elevated his acoustic sketches into something bigger.

And then there’s Martin Gilkes. “Martin was a genius” Miles says. “He could bring anything to life”

It’s clear that, for all his self‑deprecation, Miles knows the band’s catalogue has weight. It’s the thing that’s lasted.

I asked Miles if there was one particular show that stood out more then the rest, he admitted that most great gigs blur together — if they go well, he barely remembers them. But one night in Kawasaki, Tokyo, stands out like a scar.

“There had been a huge inter‑band argument. No one was speaking. I refused to play the planned set. Instead, I began calling out random song titles — some the bass player had never played” - “Malc was running over to him shouting notes” Miles recalls, grinning at the memory. “We tore through 40 or 50 songs that night, we went WAY over time, fuelled entirely by spite and adrenaline”.

And when they came off stage?

“Everyone looked at each other and said, ‘Well, that was great, can we do that more often?’”

Spite, it turns out, can be healing.

I asked Miles what younger bands wouldn’t believe about touring in the late 80’s and 90’s, Miles commented, “Border stops where officials emptied the band’s gear. Carnet documents that cost a fortune. Weeks away from home with no communication except postcards and expensive hotel phone calls” - “And thanks to BREXIT, It’s still happening in 2026” he added, half amused, half exasperated.

“If you spent 35 minutes on a phone call from a hotel in Detroit in the early 90’s, that would cost you $150” he says. “Today, bands can FaceTime from buses with their inbuilt Wi-FI whilst rolling through Wyoming without a care in the world!”

Miles admits the best stories will never be told publicly, they involve people who wouldn’t thank him for sharing. But he offers one gem involving Vic Reeves. “We once ended up in the office of the head of the Flying Squad at half six in the morning in New Scotland Yard, drinking whiskey out of plastic beakers on his desk”

He laughs. “That’s about as far as we’ll go with that one”

The Wonder Stuff and Inspiral Carpets have crossed paths at festivals for decades, but one meeting at Leeds Festival stands out.

Whilst in the hospitality area, Clint Boon sheepishly admitted he was writing music for children’s cartoons. Miles lit up — he was doing the same!

“It’s been said before that all we do is write childish ditties,” Miles says. “So I guess we’ve found the right place for it”

Asked about which tracks will always make the setlist, Miles agreed that some songs are immovable.

“I like opening with Red Berry Joy Town, partly for its statement of intent, partly because its spacious arrangement helps the sound engineer adjust to the room”.

Other essentials include:

• Here Comes Everyone

• On the Ropes

• Ten Trenches Deep (technically a B-side)

“Piece of Sky appears about 80% of the time, but I also considers who’s on stage, especially violinist Erica” — when choosing the night’s mix.

“You’ve got to keep the audience happy first and foremost, they’re the reason you’re there performing in the first place!” he says.

When asked about whether Astley in the Noose would make the setlist, Miles doesn’t hold back. “Absolute rubbish. That’ll never get played again. Not in my lifetime.”

But other B-sides do appear. Goodbye Fatman has resurfaced in recent years, and Ten Trenches Deep remains a permanent fixture.

“We don’t go out year after year playing the same set” he says. “You always want to mix it up”

The band plays Brixton Academy in December for the anniversary run, this isn’t their first rodeo and Miles knows exactly what he’ll be thinking on stage:

“I’m trying to see if there’s anybody I know staring at us from behind the windows under the public balcony, drinking free booze… and I’ll be thinking, I can’t wait to be up there in about 20 minutes with a fresh Guinness”

Some things never change!

I asked Miles about his thoughts on the current state of the world and he doesn’t sugarcoat his feelings…. “The future looks darker every day” he says - “very dystopian”

But personally, he’s excited about the band’s plan to get into the studio in 2027 and work toward a tenth Wonder Stuff album, saying that it’ll be “a nice way to spend some money”

Miles’ hopes for the next decade are simple: “That everyone in the current lineup is still alive” he says. “I couldn’t face the idea of auditioning and training up another drummer or bass player”

He hopes for health, happiness, creativity — and no new technology designed to make human-made music obsolete!

“I’m just clinging on to the last part of the music industry”

Ahead of the 16 date UK anniversary tour, The Wonder Stuff play Beautiful Days Festival on Sunday 23rd August. Miles promises a quick in-and-out, but one thing’s for certain, he’ll happily take that Guinness I promised him!

The full list of The Wonder Stuff’s 40th anniversary UK tour dates is as follows:

01 Oct Newcastle, O2 City Hall

02 Oct Manchester, O2 Victoria Warehouse

03 Oct Sheffield, Octagon

08 Oct Brighton, Dome

09 Oct Bournemouth, O2 Academy

10 Oct Margate, Hall By The Sea at Dreamland

14 Oct Glasgow, Barrowland

15 Oct Cardiff, Great Hall

16 Oct Leeds, O2 Academy

17 Oct Leicester, O2 Academy

22 Oct Scarborough, Spa Pavilion

24 Oct Norwich, UEA

29 Oct Lincoln, Engine Shed

30 Oct Wolverhampton, Civic

31 Oct Liverpool, Olympia

08 Dec London, O2 Brixton Academy

Keep up to date with The Wonder Stuff

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Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Ella and Finn from a London based band called CANDAR who perform some incredible alternative rock music, think of them as the reverse White Stripes!

We’d like to thank Ella and Finn for sparing the time to chat to us after their set, it was a first for me, and hopefully, it won’t be my last!

Keep up to date with their whereabouts and happenings via their INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Harry and Caitlin from London based Neo-Soul outfit ACHILLES HEEL who have earned their stripes since forming at Falmouth University some years back before moving to the smoke to further their music careers.

We’d like to thank Harry & Caitlin for sparing the time to chat to us after their set, it was a first for me, and hopefully, it won’t be my last!

Keep up to date with their whereabouts and happenings via their INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Cornish legend PERI RAE who has earned her stripes over the past few years and played the same stage 2 years previously.

We’d like to thank Peri Rae for sparing the time to chat to us after her set, it was great to catch up with her again.

Keep up to date with the Peri’s whereabouts and happenings via their INSTAGRAM page.

Interview by Steve Muscutt

Whilst at BOARDMASTERS FESTIVAL this year, we wanted to chat to as many bands as we could who were lucky enough to play THE VIEW stage, which in our opinion is THE BEST stage on offer. There’s nothing like the gentle breeze from the Atlantic blowing through your hair as you run through the songs that you have carefully curated for the audience.

We caught up with Luke and Josh from 3 DAYS OF WONDER, a Devon based rock band who perform some fabulous music and have earned their stripes through relentless gigging around some of the best venues on offer.

We’d like to thank Luke and Josh for sparing the time to chat to us after their set, it was great to catch up and see them in action once again!

Keep up to date with the band’s whereabouts and happenings via their INSTAGRAM page.

Interview by Steve Muscutt