Dermot Kennedy has always written like someone carrying the weight of the world in his chest — but on The Weight of the Woods, that weight finally feels shared. Released this week via Island Records, his third album is a return to the source: the land, the folklore, the quiet corners of rural Ireland that shaped him long before the stadiums and streaming numbers did.

It’s a record rooted in place. Not metaphorically — literally. Most of it was written and recorded just down the road from his home, with a forest at his back and longtime collaborator Gabe Simon at his side. You can hear that grounding everywhere: in the grain of his voice, in the stripped‑back arrangements, in the way the songs breathe. Kennedy calls the woods behind his house “a haven for my sense of wonder,” and the album feels like an invitation into that sanctuary.

WATCH THE NEW VISUALISER FOR “TURNSTILE” HERE

There’s a renewed confidence here too. After years of global touring, chart‑topping success, and the kind of acclaim that could easily push an artist toward maximalism, Kennedy has instead peeled everything back. “If I get up in a pub with just a guitar or a piano, I’m certain that I can sing to a room full of people,” he says — and that instinct guides the entire record. The result is a blend of folk textures, country warmth, and melodies that soar without ever losing their intimacy.

And now he’s taking that clarity, that sense of home, on the road.

May and June 2026 mark the biggest headline tour of Dermot Kennedy’s career. It’s a run that stretches across Europe before landing in the UK for six arena shows, culminating in a triumphant return to London’s O2 on June 5th. Then, in July, he steps onto the turf of Dublin’s Aviva Stadium for two massive hometown shows — the kind of full‑circle moment most artists only dream of.

These dates will be the first chance for fans to hear The Weight of the Woods in the wild, songs born in solitude, now amplified by thousands of voices.

UK HEADLINE TOUR 2026

29 May – Glasgow, OVO Hydro

30 May – Manchester, AO Arena

1 Jun – Cardiff, Utilita Arena

2 Jun – Leeds, First Direct Arena

4 Jun – Birmingham, Utilita Arena

5 Jun – London, The O2

Tickets available HERE

Kennedy’s rise has been extraordinary — from busking on Irish streets to sharing stages with Niall Horan, Noah Kahan, Zach Bryan, and even performing at Notre Dame Stadium. His songs have travelled far, but his compass has never shifted. That’s clearer than ever in MISNEACH, the new global festival he curated this year, spotlighting Irish artistry from The Frames to Kneecap to Ye Vagabonds. It sold out in both Sydney and Boston, proving that Irish music — and Kennedy’s vision for it — resonates worldwide.

The Weight of the Woods is less of a new chapter and more of a recalibration. A reminder that even at arena scale, Dermot Kennedy is still writing from the same place he always has: heart first, voice forward, rooted in the land that raised him.

For fans, this tour is more than a chance to hear new songs, it’s a chance to witness an artist stepping into his most authentic form yet — grounded, assured, and carrying the woods with him wherever he goes.

The Meffs have carved their path the hard way — DIY releases, zero industry backing, and a stubborn refusal to soften their edges. Now, with UK radio finally paying attention, a rapidly growing hometown festival, and their angriest album yet on the horizon, the duo are stepping into a new chapter without losing the fire that got them here. In this candid conversation, Lily and Lewis talk streaming pennies, punk politics, touring chaos, and why Business might be their most urgent work to date.

Q: Your new song feels personal, but also universal. What does it mean to you?

A (Lily): It’s both. It’s personal to us, but it also sums up how a lot of bands in our position feel. It’s about everything that came before now — how things change. UK radio didn’t want to know us for years, and suddenly they do a bit.

If you don’t fit whatever mould the industry wants at that moment, you’re not part of the gang. That’s where we’ve sat for most of our time in The Meffs. We’ve always done everything ourselves — no PR, no marketing — until now.

So yeah, it’s personal, but it represents a lot of people doing what we’re doing.

Q: Radio often references punk’s past — The Clash, etc. — but doesn’t always make space for current punk bands.

A (Lily): Idles are a great example of a band who broke through, but they’d been writing great songs for years before anyone picked them up. It wasn’t sudden.

You just have to keep going — if you can. Not every band can keep going long enough to get that support.

Q: It makes you wonder who actually gets paid in the music industry.

A (Lily): Exactly. Some corporations are making a lot, while we’re getting £0.003 per stream. They’ve got plenty of money — we definitely don’t.

MEFF FEST

Q: Meff Fest is coming up — excited?

A (Lewis): Yeah! It’s only our third one, and it’s grown fast. We went from a 180‑cap room to 600 last year, and now we’re in the big hall — 1,000 capacity. I don’t think any local band has done that here. We’ve got charity stalls, loads going on, and a lineup we’re really proud of (Lily): We’ve got Crass, UK Subs — my favourites.

Q: I was surprised to see The Subways on a punk lineup.

A (Lily): We toured with them, but even before that we recorded with Billy years ago. Just a couple of tracks, but we stayed in touch. They’re lovely people.

Q: Tickets seem really affordable.

A (Lily): That was the point. We didn’t want to charge £50 — loads of people wouldn’t be able to afford it. It’s our hometown; it should be accessible.

£25 covers costs and gets the bands here. We’ve even got fans flying in from Germany — friends we’ve made on tour.

If everyone has a good day, that’s what music is about.

STIFF LITTLE FINGERS

Q: What’s your history with Stiff Little Fingers?

A (Lily): We played two shows with them — one of them was the Sex Pistols show in Berlin. They saw us play and spoke to us afterwards. They said, “We already have a support band, which is a shame, because we’d love you to do it.”

We were gutted. Then we got the call later — they wanted us. We said yes immediately.

Q: Have you ever had to give something up because of a clash?

A (Lewis): Yeah — one of the Stiff Little Fingers shows. We’d had a mad week, loads of travel in and out of Europe. We drove back from the Czech Republic the day before the Norwich show.

The next day was Cardiff, but we had to get back to Hamburg. It was impossible. We were about five hours short of making it work.

TOURING & SONGWRITING

Q: Where were you coming from last night?

A (Lewis): We had a day off yesterday, but before that we played two nights at the Barrowlands in Glasgow. They’ve played there for about 15 years straight — it was our first time.

Q: You mentioned the song “Fight.” What’s the story there?

A (Lily): It’s one of the big ones in the set. It’s chaotic — in a good way.

A (Interviewer): Which song should I worry about my knees for?

A (Lily): That one.

LOVE SONGS

Q: Would you ever write a love song?

A (Lily): The Beatles wrote all the love songs — no one else needs to!

There are loads of great love songs already, but I don’t feel like I have anything to add. There are other things I want to say, things that need airtime.

If you’re in love, great — you’re sorted.

Business is probably the closest we’ll get to a love song… and it’s a love song to the music industry, which says it all.

SUPPORT SLOTS

Q: You’ve supported loads of bands now. Do you feel relaxed going into support slots, or do you still feel like you need to win the crowd over?

A (Lily): We always go in wanting to win the crowd.

A (Lewis) Always.

A (Lily): At your own headline show you can be cheekier, push the crowd more. With a support slot you have to respect the headliner’s audience.

A (Lewis): Like when we supported NOFX — perfect crowd for us. Total chaos.

A (Lily): They like confidence.

A (Lewis): Stiff Little Fingers fans are different, but we’ve done really well on this tour.

THE NEW ALBUM

Q: Let’s talk about the new album before we run out of time.

A: It’s called Business and it’s out in September. The idea behind it is that “business” is everything — all‑consuming. It covers daily life, politics, the world basically destroying itself. It’s about not feeling great, about frustration, about everything happening around us.

Q: Sounds heavy.

A (Lily) : It is.

A (Lewis) : Probably our angriest record.

A (Lily) : But we wouldn’t have written it if we didn’t still have hope. That’s important.

Q: Were the songs written gradually since the last album?

A (Lily) : Yeah, over about a year. I jot riffs on my phone or voice‑note ideas while driving. It builds up slowly. I try to make sure the lyrics and riffs work together. We’ve had times where we loved a riff but the lyrics just wouldn’t sit right.

Q: Do you write on tour?

A (Lily) No. When we’re touring an album, I consciously switch off. Even if something comes to mind, I don’t write it down.

Q: Really?

A (Lily) Yeah. Otherwise everything would end up sounding like the last record. Having a break keeps things fresh.

After years of pushing forward on their own terms, The Meffs are hitting a moment that feels both earned and inevitable. Their new record channels frustration, hope, and the world’s noise into something sharp and necessary, while Meff Fest and a run of heavyweight support slots show just how far their DIY spirit has carried them. If Business marks the next phase, it’s clear they’re entering it louder, bolder, and more determined than ever.

Interview by Matt Barnes

There’s a particular kind of band whose sound feels less like a collection of songs and more like a weather system rolling in. South West psych‑gaze quartet COSM have been quietly building that reputation over the past few years — and this spring, they’re taking it on the road for their ‘Black Holes’ UK Tour, celebrating the release of their shimmering new single Black Holes.

The timing couldn’t be better. With a slot already locked in for Boardmasters Festival 2026, COSM are stepping into a new chapter, one defined by bigger ideas, deeper textures and a confidence that radiates through every second of the new track.

Black Holes is the band’s first release of the year, and it lands like a statement of intent. COSM have always excelled at atmosphere — their self‑titled debut EP introduced a band fluent in haze, harmony and emotional weight — but this new single pushes everything further outward.

Shimmering guitars ripple like heatwaves, vocals drift in dream‑pop spirals, and the whole track feels suspended between nostalgia and something boldly future‑facing. It’s cathartic, widescreen, and unmistakably COSM.

If the single hints at expansion, the live shows promise full immersion. COSM’s gigs have become known for their blend of Fuzzy, psychedelic guitar riffs, Sparkling vocal harmonies, Soaring, expressive solos and A dreamlike, enveloping atmosphere

It’s a sound that nods to ’90s shoegaze and dream pop while weaving in modern indie rock and psychedelic flourishes — a palette that will resonate with fans of Ride, DIIV, NewDad, Wolf Alice, Alvvays, Beach Fossils, Keane and Lush.

Here’s where you can catch COSM as they bring Black Holes to life on stage:

Whether you’re already deep in the COSM universe or discovering them for the first time, these shows are shaping up to be something special — intimate, atmospheric, and charged with the energy of a band levelling up in real time.

Dry Cleaning have always occupied their own strange, magnetic corner of British guitar music — a place where deadpan poetry, wiry riffs and surreal emotional snapshots collide. With their third album Secret Love already hailed as “a surrealist masterpiece” and earning Album of the Week/Month nods across the board, the London quartet are stepping confidently into a new chapter. And now, ahead of a huge run of European, UK, North American and Australasian dates, they’ve dropped a brand‑new single: ‘Sliced by a Fingernail’.

The track arrives with a beautifully odd visual from BULLYACHE — a kind of laundry‑noir dreamscape that mirrors the band’s knack for turning the mundane into something uncanny. Musically, it leans into the band’s rich palette: early‑80s US punk tension, stoner‑rock weight, and those motorik undercurrents that have become part of their DNA. Over it all, Florence Shaw delivers another set of abstract, quietly devastating lines.

Shaw explains that the song circles around someone who recoils from attention — someone who feels “sliced up” by too many eyes. There’s a vivid image at the heart of it: a fingernail pressing into a flower petal, leaving a brown mark. Peony buds that refuse to open. The desire to disappear into a crowd at night. Even a nod to Jooyoung Kim’s picture book Welcome to My Life, about a dog with a comically long body. It’s classic Dry Cleaning territory: the surreal and the sincere, stitched together with a kind of sideways tenderness.

To mark the release, the band have also unveiled a limited‑edition t‑shirt, available exclusively through their website — a one‑off drop for fans who love the band’s visual world as much as their sound.

Dry Cleaning’s upcoming tour is their most ambitious yet, stretching from Berlin to Brixton, Chicago to Sydney, Wellington to Zagreb.

DRY CLEANING TOUR DATES
7 April – BERLIN, GERMANY, Festsaal Kreuzberg +
9 April – COPENHAGEN, DENMARK, Vega +
10 April – HAMBURG, GERMANY, Mojo Club +
11 April – AMSTERDAM, NETHERLANDS, Melkweg +
13 April – BRUSSELS, BELGIUM, AB Box +
14 April – PARIS, FRANCE, Le Trianon +
17 April – DUBLIN, IRELAND, Vicar Street -
18 April – LIMERICK, IRELAND, Dolan’s -
20 April – CARDIFF, UK, Tramshed x
21 April – BIRMINGHAM, UK, XOYO x
22 April – LONDON, UK, O2 Academy Brixton = x
24 April – GLASGOW, UK, SWG3 TV Studio x
25 April – MANCHESTER, UK, New Century Hall x
30 April – CHICAGO, IL, USA, Thalia Hall % *
1 May – TORONTO, CANADA, Concert Hall % *
2 May – MONTREAL, CANADA, Foufounes Électriques % *
3 May – HUDSON, NY, USA, Basilica Hudson % *
5 May – BOSTON, MA, USA, Paradise Rock Club % *
6 May – PHILADELPHIA, PA, USA, Union Transfer % *
7 May – BROOKLYN, NY, USA, Brooklyn Steel ^ * 
8 May – WASHINGTON, DC, USA, Howard Theater *
10 May – NASHVILLE, TN, USA, Basement East *
12 May – OMAHA, NE, USA, Slowdown *
13 May – DENVER, CO, USA, Meow Wolf *
15 May – SALT LAKE CITY, UT, USA, Kilby Block Party
16 May – BOISE, ID, USA, Shrine Ballroom *
17 May – PORTLAND, OR, USA, Wonder Ballroom * 
18 May – SEATTLE, WA, USA, Showbox *
20 May – SAN FRANCISCO, CA, USA, August Hall *
21 May – LOS ANGELES, CA, USA, The Belasco
22 May – SAN DIEGO, CA, USA, Casbah
28 May – BRISBANE, AUSTRALIA, The Princess Theatre (Open Season)
29 May – SYDNEY, AUSTRALIA, Sydney Opera House (Vivid LIVE) #
30 May – MELBOURNE, AUSTRALIA, The Forum Theatre (Rising Festival) >
2 June – WELLINGTON, NEW ZEALAND, Meow Nui
3 June – AUCKLAND, NEW ZEALAND, Hollywood Avondale
6 June – FREMANTLE, AUSTRALIA, Arrival Festival
7 June – BALLARAT, AUSTRALIA, Civic Hall
11 June – HOBART, AUSTRALIA, Odeon Theatre (Dark Mofo)
22-24 June – ZAGREB, HUNGARY, Inmusic Festival
3 July – KRAGGENBURG, NETHERLANDS, Wilde Weide Festival
10-12 July – BRUGGE, BELGIUM, Cactus Festival
23-26 July – SOUTHWOLD, UK, Latitude Festival
31 July – PORTLAW, IRELAND, All Together Now
6-9 August – CASTELBUONO, ITALY, Ypsigrock Festival
20-23 August – CRICKHOWELL, UK, Green Man Festival
30 August – SAINT-CLOUD, FRANCE, Rock En Seine
 
+ w/ The Tubs
- w/ Search Results
x w/ Tony Bontana
= w/ Jerkcurb
% w/ YHWH Nailgun
^ w/ Snooper
* w/ Hotline TNT
# w/ Station Model Violence
> w/ Silicone Prairie

Support across the run comes from a brilliantly eclectic cast including The Tubs, Search Results, Tony Bontana, Jerkcurb, YHWH Nailgun, Snooper, Hotline TNT and more — a lineup that mirrors Dry Cleaning’s own taste for the offbeat and the unexpected.

Secret Love has already cemented itself as one of the standout guitar records of the year, with critics praising its emotional depth, sonic ambition and the band’s ever‑evolving chemistry. MOJO called it “a wonderful album,” The Guardian praised its “powerful effect,” and The Sunday Times described it as “fantastically odd and quite affecting.” It’s the sound of a band sharpening their edges while expanding their world.

With a new single, a sprawling tour and a critically adored album, Dry Cleaning feel like a band in full bloom — even if their lyrics still linger on the beauty of things that refuse to open. Sliced by a Fingernail is another reminder of why they’ve become one of the most compelling British guitar acts of their generation: strange, stylish, emotionally precise, and always a few steps left of where you expect them to be.

DRY CLEANING ONLINE
Official Site | Bandcamp | Instagram

There’s something about driving up the M5 for a gig that already feels like a pilgrimage — the slow creep through roadworks, the promise of a night steeped in nostalgia, and the quiet hope that the band you loved in your twenties can still make you move. By the time we rolled into Bristol and tucked the car into Trenchard Street car park, the evening already felt charmed. A pre‑show feast at Beirut Mezze — dark, intimate, and serving food so lush it should come with a warning — set the tone for a night rooted in warmth, memory, and groove.

Inside Bristol Beacon, the demographic was unmistakable: this was a gathering of the musically seasoned. The majority of the audience were 50+, the generation who lived through the acid‑jazz explosion the first time around. And honestly, it suited the room. A seated show initially felt surprising, but as the night unfolded, it became clear that the setup offered the best of both worlds — space to dance, space to breathe, and space to soak in musicianship without distraction.

The auditorium buzzed with anticipation, even if the early trickle of arrivals made the support slot feel quieter than it deserved. But by the time the main event loomed, the room had filled to what felt like near‑capacity — roughly 2,000 bodies ready to relive the soundtrack of their youth.

If ever a band could teleport a room back three decades, it’s Galliano. Classic, funky, jazzy — their sound hasn’t aged so much as settled into itself, like a favourite jacket rediscovered at the back of the wardrobe.

They tore through material spanning their five‑album catalogue, from 1991 to 2024, with Jus’ Reach and Earth Boots landing especially well. But the moment that defined their set came during Prince of Peace, when the line “Pushing and a shoving and killing all the lovin’” became a full‑auditorium chant. Looking around, it genuinely felt like everyone was singing — a rare, collective throwback to festival fields and carefree summers.

The band’s playful habit of rating the crowd after each song (starting at a 3, climbing to a 9) kept the energy buoyant, and the solo‑introductions showcased a lineup of musicians who clearly still love what they do. Older? Sure. Wiser? Probably. Still funky? Absolutely.

By the end of their set, the room was warmed through — not just physically, but emotionally. For many of us, it was a reminder of who we were 30 years ago.

When The Brand New Heavies stepped out, the shift in atmosphere was instant. Bright, tight, and punchy, their sound filled the Beacon with the kind of confidence only a band with 35 years under their belt can muster.

The opener Ride in the Sky did exactly what it needed to do: got people on their feet and into the groove. Founding members Simon Bartholomew (Sy) and Andrew Levy remain the charismatic anchors of the group, and vocalist Angela Ricci, with the band since 2018, delivered a performance that was both powerful and effortless.

The lineup was rounded out by a killer two‑piece brass section, a razor‑sharp drummer (performing flawlessly despite being unwell earlier in the tour), a brilliant percussionist, a soulful backing vocalist, and a keyboard player who stitched the whole thing together. Each musician had their moment in the spotlight, with solos that stretched, breathed, and reassembled themselves back into the groove like elastic.

The Heavies didn’t just play their songs, they took time to explore them. Tracks bled into solos, detoured into playful improvisations, and snapped back into place with satisfying precision. It kept the set feeling alive, unpredictable, and genuinely fresh.

Dream on Dreamer and Spend Some Time were standout moments, sounding as huge and joyful as they did in the 90s. Angela’s crowd‑splitting sing‑along (floor vs balcony) was a highlight, and the audience rose to the challenge with gusto.

And then there was Sy’s comedic detour into The Star-Spangled Banner and the forbidden opening lines of Stairway to Heaven. A cheeky nod to Wayne’s World’s “No Stairway” rule, and a moment that had the room laughing out loud.

Andrew made a point mid‑set: “We’ve never used backing tapes — and we never will. It’s all raw emotion.” And he wasn’t wrong. The Heavies’ live sound is organic, muscular, and deeply human. In an era of click tracks and pre‑programmed everything, it felt refreshing.

The Beacon’s revamped acoustics continue to impress. The room is tall but never boomy, bright but never harsh. Every instrument landed cleanly, and the static lighting setup made the stage feel warm and intimate — and a dream for photographers.

Galliano had merch and were spotted meeting fans after the show, signing albums and posing for selfies. The Brand New Heavies, however, had nothing on offer — a surprising omission for a 35th‑anniversary tour. Judging by the crowd, they could have sold a mountain of T‑shirts. Did they meet fans after their set?, I can’t say as I had to race back to Devon for a few hours sleep ahead of a mammoth drive to the North East the very next day!

This was a night of joy, groove, and communal nostalgia. A room full of people dancing like nobody was watching, celebrating a band who still have the chops, the charm, and the chemistry to lift an entire auditorium.

If I were to sum up the show using just one sentence, it would be The Brand New Heavies proved they’re still masters of their craft, effortlessly getting Bristol on its feet and reminding everyone why their music endures…

Words and Pictures by Steve Muscutt

For most people, a gig is a night out. For Glenn Morrison, it became a decade‑long document of a community in motion — a living archive of sweat‑fogged rooms, raised fists, and the kind of catharsis only Frank Turner can summon.

His new book, Guitars and Drums and Desperate Poetry, gathers more than 100 photographs from over ten years of Turner’s shows. But calling it a “photo book” undersells what Morrison has built. This is a visual biography of a performer who has spent his career turning stages — big or small — into temporary homes for the hopeful, the heartbroken, and the fiercely alive.

Morrison has been there for all of it: the tiny venues where Turner could lock eyes with every person in the room, the festival stages where the crowd becomes an ocean, and the late‑night sets where the line between performer and audience dissolves entirely.

Across these pages, Turner isn’t just a musician, he’s a conduit — a blur of motion, a shout in the dark, a storyteller mid‑confession. Morrison’s images capture the grit and the grace: the sweat‑slicked intensity of full‑band eruptions, the quiet gravity of solo moments, and the unmistakable communion that forms when Turner steps up to a microphone.

“Frank’s shows have always felt like a gathering of friends — loud, honest, and full of heart,” Morrison says. “This book is my attempt to bottle that feeling and share the story behind the noise.”

What makes this project resonate is its sense of place. Turner’s career has always been intertwined with the UK’s grassroots venues, and Morrison honours that lineage. The book’s release supports the Nick Alexander Music Trust and the Music Venue Trust, reinforcing the idea that live music isn’t just entertainment — it’s infrastructure, culture, and community.

In an era where independent venues fight to survive, Morrison’s decision to give back feels like a natural extension of the story he’s telling. These photos aren’t just about Turner; they’re about the rooms that shaped him, the fans who fuel him, and the ecosystem that keeps live music alive.

Working as GMGigPhotography, Morrison has carved out a reputation for capturing the raw electricity of live performance. His work has appeared in major publications, on album covers, across international tour campaigns, and proudly on musomuso.com.

What sets him apart is his instinct for narrative. Every frame feels like a moment mid‑story, a snapshot of something bigger. In this collection, that instinct becomes a decade‑long arc: the evolution of an artist, the endurance of a fanbase, and the unspoken contract between the two.

Guitars and Drums and Desperate Poetry isn’t just for Frank Turner fans — though they’ll devour it. It’s for anyone who has ever stood in a crowd and felt the world sharpen into focus when the first chord hits. It’s for the people who believe in the power of small rooms, loud voices, and shared experience.

It’s a reminder that live music is a living, breathing thing — and that sometimes, the best way to understand it is through the eyes of someone who never stopped paying attention.

Order YOUR copy HERE

British progressive metal musician Grace Hayhurst is gearing up for a milestone moment this spring, announcing her first-ever headline show at London’s iconic Black Heart on March 26th. It’s a well-earned step forward for an artist who has spent the past few years quietly, and fiercely, carving out her own corner of the UK prog scene. We caught up with Grace to find out a bit more about her and the show itself.

Congratulations on the upcoming show. How are you feeling?

I’m feeling good. It’s been a great time getting together with the live band to put together these complex arrangements and bring them onto stage!

Can we expect any surprises?

I’d say this live show is definitely a massive step up from previous support slots I’ve done alongside Kyros, Ihlo, and Fraktions. Being the headliner allows for a number of liberties and exuberance.

Dea Velata have an incredibly unique sound. How did you come to meet them?

I’m buddies with their drummer Ray Hearne (Haken) who became part of Dea Velata over the last year. Gradually I got to know the other members of the band too as we all get on very well as they started rehearsing at Sensible Music, the studio I run. The band had never gigged before, so I threw around the idea of doing a show together one day and now here we are!

What was the last gig you attended that blew you away?

Probably Slayer in Finsbury Park last year! With support slots from Mastodon, Anthrax, and more that led to arguably the greatest metal event of the year for me. Otherwise perhaps Karnivool at ArcTanGent? Cracking times.

You co-run a studio in London. Did I see that you’ve been doing live sessions with bands?

Yes! I run Sensible Music in Kings Cross and we do all sorts of music-y things - everything from recording, production, mixing, mastering, rehearsals, photoshoots, all sorts! There’s a great community around the space, and it’s a real joy to be entrenched in support the creative industry not only locally, but all over the UK with the artists that come through our doors.

“The World Is Dying” was a cracking record. Any news on a follow up?

After this headline show is out the way, I’m going to be cracking on with some more writing. The first record took about 4 years to come together, so I’m hoping to be a little faster this time! We shall see.

What’s inspiring you musically right now?

Gotta be my buddies in Ihlo who released a spiffing record last year. And then perhaps the usual suspects for me, Mastodon, Rammstein, BTBAM, Haken, Leprous - that’s been my taste the last few years down to a tee. Obviously with some ‘dodie’ thrown in for good measure.

Any final words ahead of the show?

This show is only going to happen once. Don’t miss it! And hopefully I’ll see you there :)

There are gigs that feel like a booking, and then there are gigs that feel like a moment. The Bluetones landing at Things Happen Here firmly belongs in the latter camp — a full‑band, electric, up‑close show from one of the UK’s most quietly enduring indie institutions, right in the heart of Dartington.

It’s the kind of announcement that makes long‑time fans blink twice. A band who’ve headlined Shepherd’s Bush Empire, toured across Europe and Japan, and carved out a catalogue of 14 hit singles and 6 albums… stepping into one of the South West’s most intimate, community‑rooted venues. You can already feel the room buzzing.

The Bluetones’ story is one of those rare indie arcs that never quite dulled. Bursting onto the scene in 1995 with Are You Blue Or Are You Blind?, they quickly became one of the defining guitar bands of the era — melodic, sharp, and unmistakably themselves. Frontman Mark Morriss’ wry charm, Scott Morriss’ melodic basslines, Adam Devlin’s chiming guitar work, and Eds Chesters’ rhythmic pulse created a sound that still feels instantly recognisable.

After a hiatus in 2011, the band returned four years later with the same energy that made them cult favourites in the first place. And with their seventh studio album Atlas arriving in May 2026, this show lands at a fascinating moment — a band with history, momentum, and something new to say.

This booking has a lovely bit of serendipity behind it. Mark Morriss played a solo set at Things Happen Here last year and fell for the venue’s atmosphere — the warmth, the crowd, the way the room seems to wrap itself around a performance. He wanted to bring the full band back with him. And now he is.

For fans, that means a rare chance to see The Bluetones in a space where every lyric, every guitar line, every grin from the stage feels magnified. No barriers, no distance — just a band reconnecting with their audience at eye level.

Support comes from Colour TV, one of the brightest sparks in the local indie scene. Sharp, melodic, and increasingly unmissable, they’re the perfect pairing — a band on the rise opening for a band who helped define a generation of British guitar music.

Early bird tickets are already live, and let’s be honest: this is going to sell out. A band with this legacy, in a venue this intimate, with a new album on the horizon… it’s a no‑brainer.

Get tickets here: https://wegottickets.com/f/17885

When Iron Maiden announced they’d be taking over Knebworth for a full weekend in July 2026, the rock world already felt the tremors. But with the latest additions to the bill, EDDFEST has transformed from a major anniversary event into a once‑in‑a‑lifetime pilgrimage for Maiden fans — and a rare chance to see the band on UK soil before they disappear from the country’s stages until at least 2028.

Across Friday 10th and Saturday 11th July, Knebworth becomes Maidenville: a fully themed, fully immersive celebration of the band’s 50‑year legacy, curated by Steve Harris himself. And the two-day line-up tells a story only Maiden could tell.

The weekend kicks off with a moment that will mean the world to long‑time fans: Blaze Bayley headlining the Maidenville stage on Friday night, performing a full set drawn from his era with the band.

Blaze’s years fronting Maiden (1994–1999) produced two albums — The X Factor and Virtual XI — both darker, heavier and more emotionally charged than anything else in the catalogue. Hearing those songs live again, delivered by the man who helped shape them, is going to be a spine‑tingling experience.

Blaze himself couldn’t be more fired up:

“I’m so excited to be invited to headline Friday night at EDDFEST… I’m really looking forward to playing some of the songs that we recorded together.”

And because Steve Harris is curating the entire Maidenville stage, Friday becomes a deep dive into his musical DNA. That includes a rare appearance from Gypsy’s Kiss, the very first band Steve ever played in back in 1974. For fans who love the mythology of Maiden as much as the music, this is a golden thread right back to the beginning.

The Friday bill also features Stray, Maiden United, Airforce, Tony Moore’s Awake and the gloriously chaotic Hair Metal Glamageddon — a proper Maiden‑family gathering before the main event.

Saturday is where EDDFEST explodes into full festival mode. The main arena opens, the themed bars and experiences come alive, and the site becomes a playground of Eddie‑themed madness — from the Infinite Dreams Museum Experience to the Unfair Funfair and the biggest Eddie’s Dive Bar ever built.

And then, as the sun drops, the main stage ignites.

Iron Maiden headline Saturday night, delivering their show‑stopping RUN FOR YOUR LIVES performance — a set that promises to be as theatrical, ambitious and emotionally charged as any in their 50‑year history.

They’re joined by a heavyweight supporting cast:

• The Darkness

• The Hu

• Airbourne

• The Almighty

It’s a line-up built for maximum energy — a proper rock ’n’ roll celebration before Maiden take their final UK bow for several years.

What makes EDDFEST special isn’t just the music — it’s the world Maiden are building around it.

• Camping from Friday afternoon

• Early access to the Infinite Dreams Museum

• Themed bars, interactive experiences and hidden surprises

• A site curated by the band themselves

This is a 48‑hour immersion into Maiden’s universe, designed as a thank‑you to the fans who’ve carried them for half a century.

With Iron Maiden stepping away from UK stages after this, EDDFEST becomes more than an anniversary — it’s a milestone moment. A chance to stand in a field with thousands of other fans and celebrate a band who changed the shape of heavy metal forever.

Two days. One legendary site. Fifty years of Maiden history brought to life.

July can’t come soon enough.

For a band whose name sparks as much curiosity as their sound, Plymouth’s own female trio THE OTHER WOMAN are refreshingly open, wickedly funny, and endlessly generous with their stories.

When we sat down for an hour‑plus conversation—recorded just two days before their sold‑out album launch at The Underground on Mutley Plain—we roamed through the full landscape of who they are and how they’ve carved out their place in the South West scene. From the moment they explained how they finally settled on that band name, to the origins of their formation, to the way they describe their genre‑bending sound, nothing was off the table.

We dug into the artists who shaped them, the heroes they’ve met (and the ones they’re still manifesting), the local acts currently tearing up the circuit, and the earliest musical memories that still echo through their writing.

We talked about proud past releases, the twists and surprises of their creative process, and of course their brand new album All I’ve Ever Known, which landed on 27th March and was celebrated in style at their launch party—an event this feature missed by a whisker, going out only after the confetti had settled.

We even found time to chat summer festivals, upcoming shows, and the social platforms where fans can keep up with their journey.

Grab a brew (or a 4 pack), get yourself settled and hit play and delve into the deep and colourful world of THE OTHER WOMAN.

Three decades after they first detonated onto the late‑90s landscape, Republica are stepping back into the spotlight with a full UK tour across October and November 2026 — a run that promises to reconnect fans with the fierce, neon‑lit energy that made them one of Britpop’s most distinctive forces.

For anyone who lived through the era, Republica were a jolt of electricity. Fronted by the incomparable Saffron, the band carved out their own lane within a scene dominated by swaggering guitars and lad‑centric bravado. Alongside Catatonia, Elastica, Sleeper and Skunk Anansie, they helped redefine what a female‑fronted British band could sound like: sharp, stylish, and unafraid to fuse techno‑pop, punk rock and electronica into something that felt like the future.

And then came the anthems. Ready to Go and Drop Dead Gorgeous became cultural fixtures, blasting from club speakers, MTV countdowns, student union nights and festival fields. Today, they’re enjoying a full‑blown renaissance, cropping up in everything from Captain Marvel to Yellowjackets and Ted Lasso, and finding a new generation of fans discovering Britpop for the first time.

That renewed attention has pulled Republica back into the cultural conversation. Saffron’s recent appearance with Alex James’ Britpop Orchestra felt like a passing of the torch and a reminder of just how central her voice remains to the era’s legacy.

Live, Republica have always been a different beast — high‑voltage, high‑tempo, and built for big rooms. Their history includes Glastonbury, Reading & Leeds, and even halftime performances during the FIFA World Cup in Qatar. This anniversary tour feels less like a nostalgia trip and more like a victory lap for a band whose influence never really faded.

“It’s incredible to think it’s been 30 years,” Saffron says. “These songs still feel as urgent and exciting as they did back then — we can’t wait to celebrate with everyone.”

30th Anniversary Tour Dates

16-Oct-26 — Isle of Wight, Strings 17-Oct-26 — Southampton, The Brook 23-Oct-26 — Kendal, Brewery Arts Centre 24-Oct-26 — Sheffield, Network 2 29-Oct-26 — Frome, Cheese & Grain 30-Oct-26 — Birmingham, Hare & Hounds 31-Oct-26 — Leeds, Brudenell 05-Nov-26 — Tunbridge Wells, Forum 06-Nov-26 — Brighton, Chalk 07-Nov-26 — Norwich, UEA 12-Nov-26 — Guildford, Boileroom 13-Nov-26 — Exeter, Phoenix 14-Nov-26 — Cambridge, Mash 15-Nov-26 — Cardiff, Globe 20-Nov-26 — Manchester, Gorilla 21-Nov-26 — Glasgow, Oran Mor 26-Nov-26 — Nottingham, Rescue Rooms 27-Nov-26 — Bedford, Esquires 28-Nov-26 — London, The Garage 29-Nov-26 — Bristol, Thekla

Tickets on sale via https://linktr.ee/republicaofficial

Burn It Down Festival has dropped a seismic announcement for its 2026 edition: Australian hardcore heavyweights Speed will headline the Saturday of the seaside weekender, bringing a no‑barrier set to Torquay’s English Riviera.

Their arrival places them alongside a stacked bill that already includes Drug Church, As It Is, Unpeople, and a wave of rising and established alternative acts.

The Sydney crew make the long haul to the UK for Burn It Down’s 2026 instalment, running 3–5 September across four venues. It follows a huge few years for the band, who have become one of modern hardcore’s most authentic and recognisable forces. After supporting Malevolence in the UK and Turnstile across the US last year, Speed have taken their passionate grooves — and yes, those unmistakable flute solos — to major stages including Outbreak, Tied Down, Coachella, and more.

Their Burn It Down appearance reunites them with their Ireland tour co‑headliners Drug Church, who also top the bill this year. Drug Church arrive fresh from a historic run supporting Deftones, following a massive 2025 spent touring with Blink‑182, Alkaline Trio, and Drain. With a cult‑like following built on a run of impassioned, thumping albums, their presence at Burn It Down feels like a perfect match — and they’re bringing something fans have been begging for. Drug Church will lead the festival’s first ever no‑barrier day on Saturday 4 September, transforming the Foundry stage into an adrenaline‑fuelled, emotional free‑for‑all. The move follows the explosive no‑barrier set from Guilt Trip in 2025, which became one of the festival’s defining moments.

Speed and Drug Church now stand as two of Burn It Down’s three 2026 headliners, joining a lineup that celebrates both global names and homegrown champions of the alternative scene. As It Is make their Burn It Down debut, appearing for the first time alongside Spy, Spaced, and Dry Socket, who hit the festival as part of their major UK tour.

Returning favourites also feature heavily. Unpeople, who tore apart the Apple & Parrot stage in 2024, finally make their hugely requested Main Stage debut. Crossover titans Grove Street and the thunderous PENGSHUi also return to the seaside after delivering iconic sets in previous years.

Burn It Down’s commitment to hardcore is dialled up even further in 2026, with TRC, The Chisel, Your Demise, and more taking over the Attic stage.

Every band announced so far (A–Z):

Apathy / As It Is / Bar Fight / Beddy Rays / Circumvent / Curfew / Deadwax / Defiance / Drug Church / Dry Socket / Exhume / Fools Game / Grove Street / Had Sandy / Honeybadger / IOTA / Last Wishes / LeRox / Love Rarely / Malignant Methods / Mentality / Mercury / Meryl Streek / Monochrome / Negative Frame / Overpower / PENGSHUI / Pintglass / Prom / So Far So Good / Spaced / Speed / Spy / Sunnbrella / Tempers Fray / Tension / The Chisel / The Meffs / Trauma Ray / TRC / Tummyache / Uncertainty / Unpeople / Vianova / XCrucibleX

The festival’s beloved Skate Park also returns for 2026, promising blistering punk performances and a couple of special surprises. It sits right beside the merch and food hall, which this year introduces a brand‑new vegan food market.

With its trademark blend of UK alternative talent, global heavy-hitters, and sun‑drenched Devon energy, Burn It Down is gearing up for another unforgettable year. And with more surprises still to come, 2026 is shaping up to be one for the books.

Tickets are now on sale for Burn It Down 2026, with payment plans available. Buy now to avoid disappointment and cash in on early bird pricing: https://www.byplive.co.uk/burn-it-down

‘Oh, I’ve been waiting a long time…’

A reunion, a revisiting, a revival: whatever you want, you can pretty much have. Four men on the wrong / right side of 50, plus the perennially cool Mick Talbot emerge blinking but defiant. There’s no new LP to plug, no biography - you can’t even call it payola like that recent Pistols charade. Above all, the songs are what matter and, my goodness, the quality and depth is scrawled all over the stage in blood, sweat and all of the years gone by since the mid-1990’s. 

I remember those times, as an erstwhile 20 something in London, a suburban mover who embraced the live scene, experiencing Gene a couple of times in their so-called heyday. They were a bit modish, minor indie bedfellows and composers of small town anthems wedded to overwhelmed lyricism, laced with romanticism and the liquor from broken bottles left over after drunken revelries. There was something special, something unique to be celebrated and adored. I listened to Olympian incessantly, fell in love with - and to the strains of - its title song, alongside the intense balladry of Jeff Buckley, American Music Club and others.

Could Gene replicate that energy? Yes, with emotional depth, layering and heartwarming sincerity. Sure, Martin Rossiter has slowed down a bit, is less frenetic but the commitment, the soul is there, beating hard against the dying of the light. 30 years on from ‘Be My Guide…’, ‘London Can you Wait?’ and ‘We Could be Kings’, is there still room for their brand of heart on the sleeve, careworn yet hopeful? Umm, yes. Believe it. 

This series of gigs started in Leeds last Autumn and will end with a two night residency at London’s Roundhouse this October. I attended the first London gig and it felt as though Martin was consumed by nerves and an eagerness to please. splendid performance but something was missing - maybe the fact that I was in the seating area… This evening was standing only - for me, at least - and a solo flight. Three rows back from the crash barrier, anticipation hanging in the air, as vapour, surrounding the assembled like a warm hug.

Hit after hit, after confessional, after wry sun-stunned beauty, after raised hands in supplication, after worshipping at the altar of the riff, the piano trill, the rambunctious drum fill, after precise yet emotive guitar solos, after ‘deep cuts’, solo excursions, acoustic loveliness [‘Long Sleeves for the Summer’], emotional resonance and ceiling-lifting choruses, three encores and the exquisite coda of ‘Sleep Well Tonight’, a sort of rapture is achieved. Hoarse hollering for more, knowing we’ll receive another dose to the heart, head and solar plexus. 

Close to two hours later, the righteous, teary-eyed assembly of souls emerged into Bristol’s buzzing night sky, awash with multi-coloured lights and fierce memories, once more. All will sleep well and wake up, renewed, refreshed - a little reborn. 

‘So, take me home, driver - make me more wise…’

Hugh Ogilvie

South‑West London’s Slaney Bay have always had a knack for capturing the quiet moments — the glances, the hesitations, the emotional static that sits between two people who haven’t quite said the thing they’re both thinking. With their new single That’s Cool, the rising alt‑indie four‑piece lean even further into that intimate territory, bottling the fluttery uncertainty of a friendship that might be something more.

Listen to the track HERE

It’s a track built on soft tension: the brush of a hand, the too‑long eye contact, the way friends ask, “Is something happening between you two?” and you both laugh it off, even though your ears are burning. Slaney Bay frame that push‑and‑pull beautifully — not as melodrama, but as the kind of lived‑in, tactile queer experience that rarely gets the spotlight in indie music.

Slaney Bay — Cait Whitley (vocals), Joel Martin (bass), Will Nicola‑Thompson (guitar) and Jonny Burraway (drums) — have been quietly but confidently building momentum over the past few years. Their blend of introspective lyricism and shimmering, ear‑hook guitar lines has earned them early praise from Dork, Under The Radar, The Independent, Billboard and Rough Trade, plus spins from Jack Saunders (BBC Radio 1) and Steve Lamacq (BBC Radio 6 Music).

Their debut EP A Life Worth Living marked them as ones to watch, and by the time The Long Way Home arrived, the band were landing Radio X playlisting and popping up on Made in Chelsea. Live, they’ve shared stages with Coach Party, Bleach Lab, Sinéad O’Brien and The Clockworks, and sold out their own 250‑cap headline at Colours in London. They’ve also taken their sound across Europe, filling rooms at Left of the Dial (Rotterdam) and They’re Gonna Be Big (Paris), and even found themselves long‑listed for both Glastonbury and Isle of Wight Festival 2025.

This is a band on the cusp — not rushing, not forcing it, just steadily becoming the version of themselves they were always meant to be.

What makes That’s Cool land so deeply is its emotional specificity. It’s not a grand confession or a heartbreak anthem. It’s the moment before anything happens — the liminal space where friendship blurs into flirtation and neither person wants to be the first to break the spell.

The band describe it as “a flirty LGBT+ friendship… the subtle hand brushes that neither of you address… looking for each other in a crowded room.” That’s exactly how it feels: warm, nervous, electric. A song for anyone who’s ever wondered, Are we flirting or are we just friends?

Musically, it’s classic Slaney Bay — melodic, atmospheric, and quietly addictive. The kind of track that sneaks up on you, then refuses to leave your head.

With That’s Cool, Slaney Bay aren’t reinventing themselves — they’re refining what already makes them special. Their songwriting feels sharper, their emotional palette wider, their sense of identity more assured. It’s the sound of a band who know exactly where they’re heading, even if the characters in their songs don’t.

Slaney Bay are back, and they’re only getting better.

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There’s a particular kind of magic that comes out of Wakefield. It’s scrappy, unvarnished, charming in a way that never tries too hard — and Charlie Padfield might just be its purest modern export. One man, one guitar, and a knack for turning everyday struggle into something that feels mythic. If you’ve ever caught him live, you’ll know: he doesn’t so much perform as channel something. One minute he’s all high‑energy grit, the next he’s dropping into a pin‑drop hush that pulls a whole room into his orbit.

Padfield first carved his name into the Yorkshire circuit with Balloon Magic back in 2016, released through Philophobia Music. It was the kind of debut that hinted at a songwriter with both heart and bite — enough to land him slots at Live at Leeds, Long Division, and support shows with Idles, Dodgy and The Blinders. But the years since have shaped him into something deeper. His 2024 acoustic EP Something Electric revealed a more reflective writer, one who could still charm but wasn’t afraid to sit with the heavier stuff.

And now, in 2026, Padfield is finally releasing a track that’s lived in his live sets for years: A Boy Named Cigarette.

Long‑time fans will recognise it instantly — a high‑energy, hook‑loaded burst of defiance that’s been part of his set since the Balloon Magic era but never made it onto a record. The studio version finally arrives with all the swagger and sweat of its live incarnation intact. Guitars snap and bite, organs and harmonica flare like sparks, and the whole thing barrels forward with the urgency of someone trying to outrun their own bad luck.

It’s a song about trying to make your way in the world when the world isn’t exactly rolling out a red carpet. Padfield has always had a knack for capturing that tension — the grind, the hope, the humour — and here he distils it into something that feels both personal and universal.

What sets Charlie apart isn’t just the songwriting; it’s the graft. Years of working the circuit have sharpened him into a performer who knows exactly how to pull emotion out of a room. Whether he’s tearing through a rip‑roaring set or delivering a haunting ballad, there’s a lived‑in quality to everything he does. Nothing feels forced. Nothing feels borrowed. It’s music in its truest form — raw, honest, and delivered with a Yorkshire wink.

And if you needed any external validation, New Music Mixer puts it plainly:

“A Boy Named Cigarette might just be Charlie’s finest stand‑alone track… blistering organ and harmonica… it really has it all.”

It’s rare for a “debut single” to arrive with this much history behind it, but that’s exactly why it works. Padfield isn’t introducing himself — he’s planting a flag. This is the sound of an artist who’s spent years honing albums, EPs, and live sets, now stepping forward with a track built to get people moving. It’s infectious, it’s confident, and it’s unmistakably him.

A Boy Named Cigarette is a reminder that some of the UK’s most compelling songwriting is still happening in the pubs, clubs, and festival tents of the North. And Charlie Padfield, Wakefield’s greatest untapped talent, is finally ready to be heard far beyond Yorkshire.

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The other day, I tried a little experiment. I had just listened to the full version of a new track Muse posted online, complete with music video (I'm guessing that passes as a "single" these days, for what that's worth). The song was called 'Be With You', a taster of the band's upcoming 10th album and, being a long-term fan of all things Muse-y, I naturally wanted to give it a listen. 

Humour me in backing up slightly and to give some background; I've not been totally blown away by Muse since...ooh, 2015. 'Drones' was the last album I really "enjoyed", as in it made me FEEL something when I listened to it. Maybe it's because I'm a sucker for a concept album, maybe its because the really, really great songs on that record outweighed the chaff, and I can live with the less-than-stellar stuff. 2018 brought the retro-themed Matrix/Tron mash-up that was 'Simulation Theory' (which was, you know, OK) before the massive drop-off that was 2022's 'Will of the People', a record I detested so much I instigated an unofficial self-imposed ban on seeing the band live in concert, and succeeded in eradicating from my memory. Even now, four years on, I refuse to acknowledge 'Will of the People' exists (apart from the lead single 'Won't Stand Down' which, weirdly, was one of the band's strongest tracks for about ten years). I don't think I've ever been so disappointed with an album release (apart from when Oasis pissed out 'Standing on the Shoulder of Giants' in 2000, and I realised they were pretty much done in terms of creativity). 

Back to the new Muse track, then. How was it for all you Muse fans out there? There's been a lot of positive reviews of it, but unfortunately, mine is not one of them. Is it as bad as the 'Will of the People' output? Hard to say. It's definitely propped up by it on a ranking list, with 'WOTP' at rock bottom, but 'Be With You' will forever languish down in the decaying depths of the basement of Muse's recorded material. It is not a grower. In fact, I sincerely hope it grows wings and fucks off, such is the level of Coldplay-lite, stadium-rock pomp and saccharine emotion involved. It's a song that makes me feel Muse are taking the piss out of their fans, seeing how bad a track they can release that will still be hoovered up by gurning, slavering twats who mosh along regardless. It's a song not written from the heart, but written to look good as 50,000 bell-ends with light-up wristbands go "oooh!" as streamers fire off fucking glitter and confetti. My wife said that I was "never going to like it", and that I'd "already decided before I'd heard it", which isn't FULLY true. I did go in with an open mind, wanting desperately to love it, but due to being burned in the past, I am now very wary when bands release new material. I've found it to be a useful coping mechanism. And the song was shit, anyway.

I voiced this opinion - not the most popular of all time - on various Muse Facebook groups to see what reaction I got. I was braced for the inevitable rabid fan-boys and girls, the roaring sycophants who rush to fill the comments sections on videos of new songs with teary-eyed emojis and fire symbols. Who flock to declare whatever new material is THE BESTEST SONG THEY'VE EVER DONE OMG OMG I'M HYPERVENTILATING!!!! Inevitably, I was pigeon-holed as a "clown" by one raging clod who probably has knickers with Matt Bellamy's face on at home. But curiously, there were several people - long-term Muse fans like me - who admitted that, yes, this was a new low for them. Comments like "at this point they are just hating on the fans", "Muse have no place doing pop bollocks like this" and the universal "meh". 

What I'm trying to get at is I'm delighted there finally seems to be a realisation in a lot of people that a band (and it's not just Muse who are guilty of this, far from it) can and frequently do have a logical end period, a shelf-life, a period where they've said everything they need to say and have sung everything they need to sing. Obviously there are countless bands who have fallen out of fashion, who are regarded as products of their time and have been quite rightly forgotten by the majority of people and had the sense to split up. But its sad when a band you admired, revered, idolised etc. fall flat and are just no longer able to deliver the goods as they once did. They become that race-horse who goes lame, that porn-star who can no longer get it up, the bread going curly at the edges.

As I say, Muse aren't the only ones. My patience has been tested by Suede as well in the past few years, beginning with the cack that was dished out on their 2022 album 'Autofiction', before they decided to throw the towel in completely with the turgid, phoned-in 'Antidepressants' from last year. A record so tepid it was almost like an AI chat-bot wrote eleven songs in the style of Suede and the band thought "yeah, that'll do". I have now vowed to stop listening to anything Suede decide to release from here on in; I just don't have time or the desire for it. I'll always love Brett Anderson's arse wiggles and boundless energy on stage, but for the love of God someone please stop them writing new stuff. It's just awful. Whereas there were at least a few Muse fans ready to accept that they are no longer the rock titans they once were (or, as I phrased it "disappeared up their own Supermassive Black Holes"), Suede fans are a completely different kettle of insane, cult-like, threatening mentalists - The Insatiable Ones Facebook group in particular. It's ironic that Suede debuted a new song recently entitled 'Tribe', when the hideous individuals in The Insatiable Ones are the first to castigate, accuse, banish and disassociate with ANYONE who dares offer even the slightest criticism of the band or their beloved Brett. It's their way or instant dismissal for you, sunshine. It must be like being friends with Francis Begbie from 'Trainspottng' - it's all capers and frolics until you disagree with them, then you get the sharp end of a broken pool cue up your arse and find yourself pissing blood from a damn good shoe-ing. 

The issue of tribalism also reared its head in the Muse fan groups, where one person said something along the lines of: "true fans appreciate all eras of a band; if you only like albums from their past, you are just a fan of their history." Quite a lofty claim, and to be fair the prick WAS shot down in flames by others who said how dare they lord it over everyone else and tell us what constitutes a real fan. Are 'real fans' also the ones who follow a band doggedly on tour, spunking thousands of quid on VIP tickets, travel and hotels seeing the same show over and over again just to get some Instagram content? What about those of us for whom concerts are a luxury? For whom a lavish, £150 collector's edition vinyl box-set of a band's new album is an insane amount of cash? Are their reactions not valid when they maybe feel the end product has fallen short? It makes my blood boil, it really does. 

Back in the late 90s, I was a huge fan of the band Mansun (and still am!), but never got to see them live in their hey-day (mainly because none of my mates liked them, and I didn't want to go to a gig by myself). Since Mansun's acrimonious split in the 2000s, vocalist Paul Draper has carved out a solo career for himself, whereas the rest of his former bandmates have seemingly retired from the music business. As well as two well-received solo albums of original material, Draper has also become custodian of the Mansun back catalogue, which has been pillaged nearly as often as Suede's has in an attempt to reap the big nostalgia bucks. After numerous anniversary reissues, Record Store Day EP releases and a career-spanning Mansun box-set, Draper has unfortunately fallen into the trap of diminishing returns offered by his former band. As well as tours performing Mansun's 'Attack of the Grey Lantern' and 'Six' albums in full, he has also seen fit to bombard us with an utterly inessential reimagining (shudder...) of several Mansun songs in the form of 'Mansun Retold', an album nobody asked for and nobody really wanted (apart from the sub-species of fan for whom these people can do no wrong - they truly do walk amongst us) once they realised how shite it was. Again, I ventured into the world of social media fan groups to see what the consensus was when I offered that it perhaps wasn't especially good and didn't they think it was better being honest about it? 

The responses were pretty similar to Muse fans, I have to say. 75% was abuse over the fact my own feelings did not match the "OMG THIS IS AMAZING" camp, and probably 25% grudgingly agreeing with me, and the fact they've massively gone off Paul Draper in recent years. Mansun's Only Love Song, a fan-group I had been part of for some time, was the sounding board for my less-than-glowing review of 'Mansun Retold' (which also featured on this very site), sparking a mini-meltdown amongst several spirited Draper supporters, such is their ardour for a  man who just can't let his former life go. I even posted my image of my shattered 'Mansun Retold' LP, smashed to pieces with a rolling pin in protest after a few listens (and realising that I was never going to soil my turntable with this dross ever again). That didn't go down especially well, and within five minutes of posting my passionate plea for Draper to "do better" - despite one poster praising me for such actions - my own individual point-of-view was swiftly removed, and I was banned from the group. 

In a way, I get why they did this. Why would they have a post on the group bad-mouthing the songwriting genius of this esteemed musical figure? It's damaging the image, maaaan, bumming everyone out. Conversely, you might say my right to an opinion was being censored, edited, removed from existence and silenced. A bit like in '1984'. That's a bit heavy; I mean I'm not protesting for Palestine or laying my life on the line for a worthy cause, I was merely voicing how displeased and disappointed I was at one of my musical...is "heroes" the right word...? (It's not, but you get what I mean) generally appearing to be a money-grabbing, crotchety old whinger who just trades off past glories.

To sum up, I just don't get this madness that fans are not allowed to be critical of a band they love. I grew up in Teignmouth, Devon - hometown of Muse - I was there for the release of their initial EPs, their gradual ascent to becoming one of the best live acts the UK has, showcasing how they'd evolved with each new album. A classmate at college practically forced us to listen to them every time we were in the sixth form common room in 1998-1999, and it felt in a way it was the law to like the band. 

While I did get into them organically after an initial phase of not thinking they were anything special, there were lots of "hangers-on" who felt they had to be part of the ride. To sound cool by saying they were fans. Being from the same town as the band made me feel quite protective in a way; I was at a packed-out 2001 gig at Exeter University (probably breaking every single fire safety regulation going) and also at their 2007 sell-out Wembley Stadium concert, which - for me - is probably the zenith of their popularity before things began to go slightly awry. I always felt, each time an album came out, I was fiercely critical, really wanting it to be the best material, the greatest songs, they'd ever put out. I guess I just wanted them to continue having the success they'd earnt, and when they did - albeit with songs that didn't connect with me, or were a bit too "pop", or that I felt didn't represent their true talent - I would feel bitterly disappointed and saddened. I recall having "first listen" sessions with my mate Simon when new stuff came out, where we'd stick the CD on in his bedroom and rate the songs out of ten, before comparing notes. Our lists would rarely match. I preferred Muse's forays into prog, electronica and concepts; Simon appreciated the balls-out rock and heavier sounding tracks, with a fair few of the quieter, more acoustic songs. Definitely not "weird shit" with glitchy, processed drums and synthesiser arpeggios all over it.

Each to their own, and all that. In terms of commercial success, you have to keep doing what the public wants, which will naturally piss off the curmudgeonly middle-aged people like me. I hate it when bands repeatedly churn out the same old guff or pander to the lowest common denominator: it just smacks of 'here's a load of songs we've done the bare minimum with in order to get them released'. I love a band who evolve, who constantly surprise me with what they can do, without losing the engrained sound that initially attracted me. It's when a band is blind and/or deaf to the fact they're putting out material that, if B-sides still existed, wouldn't even grace the flipside of a 7" or 12" single, or be tucked away as the third or fourth track on a CD single. Bands who rattle off that old "we've progressed and matured as a band, and I this is our most personal album to date" shite, when in fact it's very hard to differentiate from anything else they've recorded.

Going back to Suede, I was elated when they announced around 15 years ago they'd reformed and would be giving things another go. When the 2018 album 'The Blue Hour' was released, I honestly felt it belonged on the same pedestal people put Suede's earlier albums like their debut, or 'Dog Man Star' and 'Coming Up' on. It was layered, atmospheric, cinematic and had substance, style and instances of really doing things they'd not tried before. Sadly, since then, they've been riding a tsunami of mediocrity, too scared to ditch the punctured lifeboat they now drift on, when someone really should have put them out of their misery and made them call it a day once more.

But then again, shouldn't it be the bands/artists themselves who realise the game is up? That they're creatively bankrupt, devoid of anything fresh to say? Sometimes, a "name" isn't enough to sustain the continued release of new material, which will ultimately just be disappointing and a downward trend on an already elongated discography (cough, cough, Paul McCartney, cough cough...).

So this is a call to all bands, singers, songwriters and artists: keep tabs on what you've got to say, and how you say it. If you're regurgitating the same old shit we've already heard from you, then maybe it's time to have the good grace to say: "You know what, guys? That's me done. My beliefs, messages and thoughts are out there. Do with them what you will, I'm retiring". I've had a lot of shitty comments along the lines of "if you can't say anything nice, don't say anything at all" when I've written reviews of poor albums - FUCK THAT. Why should I NOT speak out if I believe a band aren't fulfilling their side of the bargain with a paying fan? This petty "you'll hurt their feelings, someone put a lot of work into that album" comment has to stop. In most cases these days, it's plain to see that there's been minimal effort involved, and that elephant in the room deserves to be pointed out. And shot.

It's time to take back control from the sycophants and "yes" wankers. 

Hopefully their days are numbered.

by P.T. Muscutt

Four decades after they first plugged in and rattled the British indie landscape, The Wonder Stuff are gearing up for a celebration worthy of their legacy. October 2026 will see the band hit the road for an extensive 16‑date UK tour — a full‑throttle victory lap that stretches from Newcastle to Brixton Academy, with a setlist built to remind fans exactly why this band became such a defining force in alt‑rock.

It’s a milestone that even frontman Miles Hunt seems slightly stunned by. Reflecting on the band’s first rehearsal back in March 1986, he admits he and guitarist Malc Treece could never have imagined still sharing a stage forty years later. “Whatever those scruffy young fellas would have thought,” he says, “both of us are incredibly grateful to all of the audiences that have stuck with us these past four decades. And it shall be our absolute honour to get up on stage this year and play as many of the old faves as we can. We are blessed.”

The tour reunites the long‑standing core of Hunt, Treece, Erica Nockalls, Mark Gemini Thwaite, Tim Sewell and Pete Howard — a line‑up that has weathered eras, trends, and the occasional controlled explosion. Expect a career‑spanning set that digs deep into the band’s catalogue: the early snarling energy of Unbearable and A Wish Away, the widescreen indie‑pop of Caught In My Shadow and Size of a Cow, and the bittersweet punch of Don’t Let Me Down, Gently.

Formed in the Birmingham/Black Country scene of the mid‑80s, The Wonder Stuff quickly became one of the most distinctive voices in British guitar music. Four Top 20 albums between 1988 and 1994, thirteen Top 40 singles, collaborations with Kirsty MacColl and Vic & Bob, six appearances on Top of the Pops, and a run of sold‑out Brixton Academy shows — the band’s ascent was as chaotic as it was unstoppable.

Even after their 1994 split, the appetite never really faded. Their 2000 reunion sold out five nights at London’s Forum, and they’ve continued to release new music and tour ever since, most recently with 2016’s Better Being Lucky.

As if a 40th‑anniversary tour wasn’t enough of a party, The Wonder Stuff are bringing Inspiral Carpets along for the ride. One of the defining bands of the Madchester era, The Inspirals will be rolling out their garage‑pop classics — This Is How It Feels, Move, Find Out Why — alongside a few surprises. “See you down front,” they tease. It’s hard not to believe them.

The tour kicks off in Newcastle on 1 October and winds its way through Manchester, Sheffield, Brighton, Bournemouth, Margate, Glasgow, Cardiff, Leeds, Leicester, Scarborough, Norwich, Lincoln, Wolverhampton and Liverpool, before a huge finale at London’s Brixton Academy on 8 December.

A venue pre-sale will take place from 10.00am on Wednesday 25th March, before going on general sale at 10.00am on Friday 27th March, available from www.thewonderstuff.co.uk

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

Socials

www.thewonderstuff.co.uk

www.facebook.com/thewonderstuffofficial

www.instagram.com/thewonderstuffofficial/

www.youtube.com/user/TheWonderStuffUK

Download Festival has always been a place where the riffs are heavy, the crowds are loyal, and the legends feel right at home. But over the past few years, something stranger — and frankly, more delightful — has been brewing on the fringes of Donington Park. District X, the festival’s late‑night fever dream of chaos, comedy, nostalgia and pure communal joy, has grown into a world of its own. And for 2026, it looks set to eclipse everything that came before it.

With less than three months to go until Download returns from 10–14 June, the festival has unveiled a District X line‑up that reads like someone handed the booking team a crate of energy drinks and said “go on then, surprise us.” The result is a gloriously unhinged mix of boyband icons, cult heroes, tribute acts with a twist, and enough DJs, comedians and secret sets to keep Donington buzzing until sunrise.

The headline curveball this year is unmistakable: Five — yes, that Five — are making their Download debut. It’s the kind of booking that shouldn’t work on paper, yet somehow feels absolutely perfect for District X. Expect ‘Slam Dunk (Da Funk)’ and ‘Everybody Get Up’ to become unlikely festival anthems as thousands of metalheads rediscover their inner 90s kid.

They’re joined by another band who know a thing or two about high‑voltage fun: Electric Six. Few acts can whip a crowd into a frenzy quite like the Detroit oddballs, and the thought of ‘Gay Bar’ echoing across Donington at midnight feels like a gift.

District X has always thrived on unpredictability, and 2026 doubles down. The All-American Rejects will be stripping things back for an acoustic performance, while secret sets — revealed only on the weekend — promise those “were you there?” moments Downloaders love to brag about.

The DJ roster is equally stacked, with Dick & Dom (a pairing that somehow makes perfect sense here), Creeper, MODESTEP, Holding Absence’s Lucas Woodland and Cancer Bats’ Liam Cormier all taking turns behind the decks. Cormier will also appear with Bat Sabbath, the Black Sabbath‑meets‑hardcore hybrid that has become a cult favourite.

Add in live sets from Australian party‑punks DUNE RATS and rising London rap trio Frozemode, and you’ve got a schedule that refuses to sit still.

District X has always been the place where Download lets its freak flag fly, and this year’s left‑field bookings are pure joy. TokenGrass — a bluegrass tribute to Sleep Token — might be the most Download sentence ever written, while Nic Cage Against The Machine (a Rage Against The Machine tribute fronted by a Nicolas Cage impersonator) feels destined for cult status.

Comedy is another major pillar this year, with The Comedy Store curating a full programme of stand‑up from over 25 acts including Felicity Ward, Thomas Green, Matt Bragg, Sikisa and more. Viral sensation James B. Partridge brings his Primary School Bangers singalong chaos, while Scottish accordionist RuMac adds a dose of folk‑fury charm.

District X isn’t just about music — it’s about the shared experience. Live podcasts from RØRY’s ADHD Love, Sappenin Podcast and The Metal Roundup Podcast bring intimate conversations into the mix, while Bongo’s Bingo, Panic! At The Bingo and Heavy Metal Sports ensure the energy never dips.

There’s also Live Band Karaoke with Ten Years Too Late, Never Mind The Download pub quizzes, and a conveyor belt of DJs including Alex Baker, Sophie K, Nickelbrat, Master Of Pop Hits and the brilliantly named K‑Pop Emo Hunters.

It’s a world where anything can happen, and usually does.

While District X handles the nocturnal madness, the main festival is shaping up to be one of Download’s biggest yet. Limp Bizkit, Guns N’ Roses and Linkin Park headline DLXXIII, joined by a stacked bill featuring A Day To Remember, Scooter, Electric Callboy, Cypress Hill, Pendulum, Bad Omens, The Pretty Reckless, Trivium, Halestorm, BABYMETAL, Tom Morello, Dogstar and many more.

Weekend camping tickets have already sold out, but a limited number of weekend arena and day tickets remain, click HERE to secure yours.

District X has evolved into Download’s beating after‑hours heart — a place where metalheads, punks, ravers, emos, pop‑kids and nostalgic 90s survivors collide in a haze of laughter, noise and shared weirdness. It’s the festival’s playground, its pressure valve, its late‑night sanctuary.

British progressive metal musician Grace Hayhurst is gearing up for a milestone moment this spring, announcing her first-ever headline show at London’s iconic Black Heart on March 26th. It’s a well-earned step forward for an artist who has spent the past few years quietly, and fiercely, carving out her own corner of the UK prog scene.

The night has been curated with intention, pairing Hayhurst with two rising forces in European progressive and symphonic metal: Dea Velata (Spain) and Tales of Perdition (UK). It’s a bill that feels less like a standard gig and more like a statement, a showcase of the next wave of ambitious, genre-bending metal artists refusing to play small.

Hayhurst’s latest record, The World Is Dying, landed last summer and immediately caught the attention of the prog community. Dense with narrative, rich in instrumentation, and unafraid to confront uncomfortable truths, the album marked a significant evolution from her debut EP Existence Is Temporary.

Composed and largely performed by Hayhurst herself, the record also features the unmistakable drumming of Robin Johnson (Kyros), with production support from Shelby Logan Warne at London’s Sensible Music Studios — a space that has welcomed everyone from The Plot in You to Tim Bowness and Fontaines D.C.

The album’s title track — a sprawling, cinematic piece that blends sci‑fi dread with real‑world frustration — set the tone for Hayhurst’s current creative era. As she puts it, the record is “science fiction turned horrid reality,” a reflection on economic disparity, environmental collapse, and the absurdity of watching billionaires chase Mars while the rest of us deal with the fallout here on Earth.

Speaking about her upcoming headline debut, Hayhurst is candid about the leap of faith involved:

“I'm very excited to showcase the songs from my debut record The World is Dying. After playing gigs in the past with artists such as Kyros, Ihlo, and Fraktions, this is going to be my first ever headline show which is always a bit of a risk for a new and niche artist. But if you don't try, then you'll never know…”

It’s a sentiment that feels emblematic of her entire approach — ambitious, self‑driven, and rooted in a belief that prog metal still has new places to go.

She continues:

“We've got two other fantastic bands on the lineup — Dea Velata and Tales of Perdition — as the whole evening has been specially curated to be one of ear perkers. It'll certainly be an evening to remember, and I hope to see as many people there supporting the next wave of prog metal music artists as possible!”

If Hayhurst’s recorded work is anything to go by, her first headline show promises a blend of technical precision, emotional weight, and narrative ambition. Pair that with the atmospheric intensity of Dea Velata and the sweeping symphonic drama of Tales of Perdition, and you’ve got a night built for listeners who crave metal with depth, imagination, and something to say.

For fans of progressive music — and for anyone curious about where the genre is heading next — March 26th at the Black Heart is shaping up to be a date worth circling.

Grace Hayhurst Links:

Instagram | Spotify | Facebook | YouTube

Dea Velata was formed by guitarist Gabby Abularach (Cro-Mags, Voodoocult, and Carlos Santana) after a chance meeting with Italian poet and visual artist Stefano Losi in 2017. Abularach then brought in British soprano Angela Hicks, who made her operatic debut at Milan’s Teatro alla Scala and has performed at renowned venues such as the Palace of Versailles. Her talents have also reached the silver screen, where she appeared alongside Academy Award-winner Olivia Colman in the 2018 film The Favourite. The band were later joined by Ray Hearne, drummer for prog titans Haken. A luminary in his field, Hearne performed session duties for the London Symphony Orchestra at Abbey Road, appeared on Oscar-winning soundtracks and even featured as a soloist alongside guitar hero John Petrucci. Dea Velata have since released their debut self-titled album 2024.

The video for Dea Velata’s ‘Obitvs’ can be found here.

Dea Velata Links:

LinkTree | Instagram | Bandcamp | Facebook

Tales of Perdition are a Symphonic Metal band from London and a proactive member of The London Metal Coalition. Formed in 2017, they have been keeping the flame lit for the genre and building a reputation for their highly energetic live performances at landmark venues across the UK. Drawing inspiration from bands such as Nightwish, Iron Maiden and Trivium. Tales of Perdition combine dual guitar harmonies and thrash metal riffs alongside operatic vocal melodies and orchestration.

The video for Tales Of Perdition’s track ‘Hold Down The Hunter’ can be found here.

Tales Of Perdition Links:

LinkTree | Instagram | TikTok | Facebook | YouTube

Links to tickets for the show can be found here, and the Facebook event for the show can be found here.

Exeter on a Friday night can be a mixed bag, and this one leaned towards the quieter side — unless you stepped into the Cavern. Outside, clusters of smokers huddled under the streetlights, eyeliner thick and gender‑neutral, swapping pre‑gig predictions. Inside, the venue was its usual self: smoky, dark, and bathed in that unmistakable sleazy red glow that makes the Cavern feel like an underground metal bar lost in time.

Parking was a nightmare (bloody students), but the crowd that gathered was small, lively, and buzzing with curiosity. A surprising number of older gig‑goers dotted the room — people who looked like they’d lived through nu‑metal the first time around and were more than ready to relive it.

Bangor’s own Celavi opened the night with a set that felt like a ritual: PVC, lace, black‑and‑red aesthetics, and a pulsing electronic undercurrent that set the tone instantly. They’re a trio — drums, guitar, vocals, and a backing track that throbbed through the Cavern like a heartbeat.

It took the crowd a moment to warm up, but once they did, Celavi had them. Dyma Fi, their Welsh “do what the hell you want” anthem, landed with swagger. Morgana, their new single (released on Friday the 13th, naturally), has already caught the attention of Metal Hammer, and live it felt like a statement of intent: creepy, theatrical, and confident.

Lowercase, lifted from their EP Anima, was a highlight — hectic, melodic, and heavy AF. But the real magic came with the whispered intro and tribal beats of Bite My Tongue, a track that hit like a war drum and felt like the perfect way to kickstart the weekend.

They closed with Eyeliner, sung in three languages. You clocked the English and Welsh… the third remains a mystery, but the effect was hypnotic.

For a first visit to Exeter, Celavi made themselves unforgettable — a band who wear their identity proudly and deliver it with teeth bared.

Preston’s N0TRIXX took the stage next — just her, her guitarist, and a compact setup of laptop, controller, and a bag of sonic tricks. From the moment she stepped into the red haze, the room shifted. People didn’t quite know what to expect, and that uncertainty became part of the thrill.

Her sound? Heavy. Dark. Mesmerising.

N0TRIXX writes about mental health with a rawness that borders on fearless. Every track tackles a different condition — dementia, ADHD, anxiety, dissociation identity disorder, suicidal thoughts, depression — and she performs them from the inside out. Some might call that messy; I call it brave, and I’m right. She turns lived experience into art with no apologies and no sugar‑coating, she shoots straight from the heart.

Her latest track Revenge on God was showcased early in the set, dark, visceral and deep were the words, the jagged guitar lines and pulsating rhythms as N0trixx got up to speed.

One of the most striking moments came with Narc, I’m So Happy That You’re Dead, a song about surviving narcissistic abuse from a parent. She spoke openly about discovering the truth at 30, and the room fell into a heavy, respectful silence before the track detonated.

Her vocal range is astonishing — shifting from death‑metal growls to melodic clarity in a heartbeat. At one point she stepped off the stage and wandered through the crowd, greeting fans mid‑song, dissolving the barrier between performer and audience.

The track exploring autism was a standout: she built it layer by layer at her console, weaving in sounds that reflected her sensory world. It was artful, vulnerable, and utterly captivating.

Between songs, she spoke candidly about her political stance and her opposition to the war started by her president in Russia. She also revealed the reason behind her face mask: partly health, partly anonymity — she’s no longer welcome in Russia because of her views. It was a stark reminder that for some artists, the stakes are far higher than ticket sales.

Sonically, the set was tight, raw, and honest. No smoke and mirrors — just truth delivered through heavy riffs, rapped verses, spoken‑word poetry, and electronic darkness.

N0TRIXX’s debut album, A Catalogue of Madness and Melancholia, dropped the very day of the Exeter show (March 13), and the merch table reflected the excitement. Prices were fair, the selection solid, and fans flocked over at the end of the night. She met them all — warm, open, and grateful.

It might have been a quiet night in Exeter, but artistically it was anything but. After running a feature on Notrixx before Christmas, this show felt like the missing puzzle piece — the moment where the myth meets the music. And she did not disappoint.

If I were to create a one liner for the show, it would be “Don’t judge a book by its cover — N0TRIXX’s exploration of mental health might sound heavy on paper, but live she is utterly mesmerising, enthralling everyone in the room.”

Catch N0TRIXX on the remaining dates of her UK tour — you’ll walk away changed.

N0TRIXX 2026 UK Tour Dates

March

19 – London, The Dublin Castle

20 – Chipstead, The Lighthouse

21 – Liverpool, Kazimier Stockroom

27 – Manchester, The Peer Hat

28 – Newcastle, Zerox

29 – Edinburgh, Bannerman’s

April

2 – Chelmsford, Hotbox

3 – Pontypridd, The Green Rooms

4 – Gloucester, Alt All Dayer

5 – Bristol, Exchange