Beabadoobee has entered her Pylon era with intent. Fresh from premiering the track with Zane Lowe on Apple’s New Music Daily, she’s released Switchblade, the second single from her forthcoming album Pylon, out 18 September via Dirty Hit and Interscope Records. It’s a release that sharpens the emotional edges of her songwriting while widening the sonic world she’s building around this new chapter.

Switchblade is built on tension, not just musical tension, but emotional and existential tension too. Bea pulls apart the metaphor of the blade, asking whether “Self-defence is to be brave / Do you start the fight / Or take flight?” There’s no neat resolution, and that’s the point. She’s writing from a place where certainty has dissolved, where instinct and vulnerability collide. It’s a song that feels like it’s constantly bracing for impact, yet still reaching out for connection.

If Sun Has Set introduced the album with warmth and introspection, Switchblade arrives with teeth, jagged, questioning, and beautifully unsettled.

Beabadoobee describes Pylon as a celebration of not knowing — a space where insecurity, confusion and emotional turbulence aren’t just acknowledged but embraced. The album promises to be her most expansive work yet, shifting between anger, loneliness, ecstasy, depression and a kind of deep, obsessive love that threads through its core.

Across the record, she leans into the idea that negative feelings return in cycles, and that growth often comes from sitting with discomfort rather than outrunning it. As Bea puts it, “You have to go through all that shit, I have to write about it.”

Switchblade follows last month’s Sun Has Set, released to widespread acclaim alongside a striking first‑person video directed by Bea’s partner and longtime collaborator Jake Erland. With Pylon available to pre‑order now, the rollout is shaping up to be one of her most ambitious yet — a confident stride into arena‑sized storytelling without losing the intimacy that made her a generational voice.

This autumn-winter, Bea will take Pylon on the road for her first ever headline arena tour — The Powerlines Tour, promoted by Live Nation. It’s her biggest run to date, spanning North America, the UK and Europe, with landmark shows at Madison Square Garden, the Los Angeles Kia Forum and London’s O2 Arena. Support comes from Wisp across the US, Canada and the UK, while Violet Grohl joins the European dates.

UK Dates

November

• Sat 14 — Glasgow, OVO Hydro

• Mon 16 — Cardiff, Utilita Arena

• Tue 17 — Manchester, AO Arena

• Wed 18 — London, O2 Arena

Tickets are on sale now; visit www.beabadoobee.com/live for tickets and full pre-sale information.

The album’s fourteen tracks — including Pylon, Sun Has Set, Estranged, Switchblade, Write Me A Letter, It’s Alright, In Motion, Memories, Nothing To Prove, Radio, Powerlines, Spark, Despite That and Satellite — form a sweeping emotional arc that moves between vulnerability and volatility. Rather than presenting a tidy narrative, Bea leans into contradiction, letting each song occupy its own emotional weather system.

Pylon

• Sun Has Set

• Estranged

• Switchblade

• Write Me A Letter

• It’s Alright

• In Motion

• Memories

• Nothing To Prove

• Radio

• Powerlines

• Spark

• Despite That

• Satellite

Born in the Philippines and raised in London, Beatrice Laus has become one of the UK’s defining alternative artists. Her catalogue now spans three acclaimed albums and five EPs, earning her BRIT Award and BBC Sound Of nominations, an NME Radar Award, over 10 billion streams and more than 12 million followers across her socials.

Her 2024 album This Is How Tomorrow Moves became her first UK #1, following the Top 10 successes of Fake It Flowers and Beatopia. Earlier this year she teamed up with Grammy‑nominated The Marías for All I Did Was Dream Of You, a collaboration born from mutual admiration and a shared instinct for dreamy, cinematic pop.

Socials

Instagram | TikTok | Spotify | YouTube | Apple Music

Southern California post‑hardcore heavyweights Movements are entering a new chapter, one defined by emotional depth, sonic expansion, and a sharpened sense of identity. Their fourth album, Happier Now, lands 4th September 2026 via Fearless Records, and the band have marked the moment with the release of Separate, a brooding, slow‑burning track that closes the record with unexpected intensity.

It’s a fitting introduction to a project that pushes Movements further than ever before.

For Happier Now, Movements reunited with Grammy‑winning producer Will Yip, a collaborator so integral to their sound that vocalist Patrick Miranda refers to him as “the fifth member of the band.” Yip’s influence is woven throughout the record, from the syncopated pulse of opener Pulse to the widescreen textures and climactic twists of Separate.

This is Movements at their most ambitious. The band stretch their post‑hardcore foundations into new territory, experimenting with time signatures, layering unexpected sonic textures, and merging pop sensibilities with the emotional grit fans have always connected with.

Despite its optimistic name, Happier Now is steeped in emotional honesty. Miranda’s lyrics explore the uncomfortable truth that progress doesn’t erase the past, especially when depression is part of the story.

He explains that while he’s in a better place than before, the darkness never fully disappears. That tension is at the heart of the album, surfacing in tracks like Ill At Ease, which channels early Jimmy Eat World at their most melodic, and in the title track, where the deceptively simple question “Are you happier now with your happier sounds?” hides a deeper emotional reckoning.

Movements have always been a band fans turn to for vulnerability, and this record leans into that connection with clarity and conviction.

With Movements returning to Warped Tour this summer, Happier Now feels like a milestone. The band who once looked up to the scene are now shaping it, evolving into statesmen of the post‑hardcore community while still holding onto the raw emotional core that defined their early work.

The struggle never sounded so sweet.

Happier Now tracklist

• Pulse

• Dissolve Me

• Everything Is Fine

• Happier Now

• Flowerbed

• Back in My Ways

• Spellbound

• Ill at Ease

• Live by the Sword

• Everyone I've Ever Been

• Fragile Hands

• Separate

Movements will hit the road this October with Balance and Composure, Midrift, and NIIS, performing in major venues across the country. Full dates below:

• 7/10 — Seattle, WA — Showbox SoDo

• 8/10 — Portland, OR — Crystal Ballroom

• 10/10 — San Jose, CA — San Jose Civic

• 12/10 — Salt Lake City, UT — The Complex

• 14/10 — Denver, CO — Mission Ballroom

• 15/10 — Omaha, NE — Steelhouse

• 17/10 — Cleveland, OH — Agora Theater

• 18/10 — Chicago, IL — The Salt Shed

• 20/10 — Royal Oak, MI — Royal Oak

• 21/10 — Pittsburgh, PA — Stage AE

• 23/10 — New York, NY — Terminal 5

• 24/10 — Philadelphia, PA — Franklin Music Hall

• 25/10 — Boston, MA — Roadrunner

• 28/10 — Silver Spring, MD — The Fillmore Silver Spring

• 30/10 — Richmond, VA — The National

• 31/10 — Norfolk, VA — The NorVa

• 2/11 — Raleigh, NC — The Ritz

• 4/11 — St. Petersburg, FL — Jannus Landing

• 6/11 — Orlando, FL — Hard Rock Live

• 7/11 — Atlanta, GA — The Tabernacle

• 10/11 — San Antonio, TX — Tech Port

• 11/11 — Dallas, TX — Bomb Factory

• 13/11 — Mesa, AZ — Mesa Amphitheater

Cornwall’s Eden Project has hosted countless unforgettable nights across its 25‑year history, but before a single chord rang out, the atmosphere inside the arena already told its own story. A sea of NOFX and Bowling for Soup T‑shirts stretched across the crowd, punctuated by a plethora of Frank Turner tees, especially the iconic Not Dead Yet design, worn proudly by fans who’ve followed him through every era. The ages were beautifully mixed: younger fans buzzing for their first taste of these bands, older die‑hards who’ve lived through the pop‑punk boom, and a huge contingent of middle‑aged folk who grew up on the very sounds that would soon be pouring from the speakers.

It was a triple bill that shouldn’t work on paper, yet absolutely did.

Opening at 6:30pm sharp, American Hi‑Fi strode out with the confidence of a band who’ve been doing this for over two decades. The Boston power‑pop outfit — best known for their breakout hit Flavor of the Weak — delivered a tight, melodic set full of crunchy guitars and radio‑ready hooks.

Stacy Jones’ vocals were as sharp as ever, and the band’s playful energy landed well with the early crowd. Introducing Vertigo with the confession that they “stole the drum intro from Iron Maiden” earned a big laugh, and there were moments where their sound nodded toward early Blink‑182 — unsurprising given the shared pop‑punk DNA. They did exactly what an opener should: warm the arena, loosen the shoulders, and set the tone for the night ahead.

Frank Turner has played thousands of shows, this one marked #3165, yet he still performs with the urgency of someone who believes every gig could be his last. The set was, in your words, “perfect in every way”: the classics, the sing‑alongs, the circle pits, and even a Wall of Hugs replacing the usual Wall of Death. Only Frank could turn a punk‑show tradition into a moment of collective tenderness.

1933 arrived with its usual anti‑fascist bite, landing particularly hard given the current political climate and the far‑right noise swirling around the UK. Turner didn’t shy away from calling it out — and the crowd didn’t shy away from responding. The band sounded razor‑tight, but when they left Frank alone with his acoustic guitar, the atmosphere didn’t dip for a second. The Ballad of Me and My Friends felt intimate and defiant, a reminder that Turner’s storytelling doesn’t need amplification to hit hard.

At one point, bassist Tarrant Anderson jokingly labelled the Cornwall crowd “sub‑optimal,” based on their lame reply to a ‘call and response’ section of the show, prompting Frank to challenge the audience to prove him wrong. They did, loudly. It was a clever bit of showmanship that transformed the second half of the set into a full‑throated roar. Before Haven’t Been Doing So Well, Turner admitted he’d fluffed the guitar solo on the previous two nights and wanted one last shot at redemption. Ben Lloyd took solo #1 flawlessly; Frank stepped up for solo #2 with visible nerves, and absolutely nailed it. No jazz‑solo chaos this time, just a clean, triumphant moment that had the crowd cheering his victory.

Toward the end, Turner ditched his guitar, jumped the barrier, and danced with the Eden crowd before orchestrating the biggest ballerina twirl the venue has ever seen. It was silly, joyful, communal, everything a Frank Turner show should be.

Right on 9:15pm, Bowling for Soup bounded onto the stage for their headline slot, delivering a 15‑track set packed with nostalgia, humour, and sing‑along staples. High School Never Ends, Ohio, Punk Rock 101 — all present, all delivered with the band’s trademark blend of tight musicianship and tongue‑in‑cheek charm. Their cover of Fountains of Wayne’s Stacy’s Mom was a standout, sounding huge in the Eden bowl. They closed the main set with Girl All the Bad Guys Want and The Bitch Song, before returning — beers in hand — for a two‑song encore. Star Song hit beautifully, and 1985 (now sitting just shy of half a billion Spotify streams) wrapped the night with a final burst of pop‑punk euphoria.

Three bands, three genres, three different energies — yet the flow of the evening felt seamless. American Hi‑Fi’s polished power‑pop, Turner’s folk‑punk fire, and Bowling for Soup’s pop‑punk party vibes created a perfectly balanced night that showcased the breadth of alternative music in 2026.

More importantly, it showed how artists from different countries and backgrounds can share a stage, share a crowd, and share a love of performing that transcends genre.

Eden Sessions wanted a celebration for their 25th anniversary. They got one.

Setlists

American Hi-Fi

Surround

Scar

The Breakup Song

Hi-Fi Killer

Another Perfect Day

Vertigo

The Geeks Get the Girls

The Art of Losing

Flavor of the Weak

Frank Turner and the Sleeping Souls

I Still Believe

Try This at Home

Never Mind the Back Problems

Photosynthesis

Girl from the Record Shop

1933

No Thank You For the Music

Wessex Boy

The Way I Tend to Be (solo)

The Ballad of Me and My Friends (solo)

I knew Prufrock

The Next Storm

Recovery

Haven’t Been Doing So Well

Do One

Polaroid picture

Get Better

Four Simple Words

Bowling for Soup

Bowling for Soup Theme

Almost

High School Never Ends

Emily

Ohio

Getting Old Sucks (But Everybody’s Doing It)

Today is Gonna Be a Great Day

Punk Rock 101

Stacy’s Mom

Scope

Turbulence

Friends o’ Mine

Girl All The Bad Guys Want

The Bitch Song

Encore

Star Song

1985

Trauma Party are one of those rare bands who manage to turn urgency into electricity. Born on Waiheke Island and sharpened by relentless touring across Aotearoa, the four‑piece have carved out a sound that fuses garage‑punk with post‑punk and a sly pop sensibility. Their latest single, Speak to Me, is a vivid example: a taut, motorik, chant‑driven wake‑up call that confronts loneliness, delusion, and the quiet slide toward society’s fringes. Its accompanying video, filmed at The Woolshed on the Waiheke Dirt Track, humanises those who feel unheard, pairing political tension with emotional honesty while still landing as an energetic live favourite. With their debut EP Because You’ve Been Good already making waves on student radio and a full‑length album on the horizon, Trauma Party are stepping into 2026 with momentum, conviction, and a sharpened sense of purpose, making now the perfect moment to sit down with them for a deeper conversation.

You formed on Waiheke Island (New Zealand) in early 2025. What was happening in your lives and in the local music scene that made Trauma Party the band you had to start?

TRAUMA PARTY: A collision of serendipity and opportunity! In late 2024, drummer Kirsty Swanney and bassist Ron K recruited vocalist Buddy Olson and guitarist Derek Solomon for a live show with Attrition (UK).  Kirsty and Ron’s previous incarnation Glass Cell had been offered the slot, but a wedding meant their guitarist was unavailable.

Trauma Party formed from that brief union. There was immediate chemistry, an ability to work together, and most importantly a 'sound'. After the Attrition show, the band just got in the room and started writing. Buddy arrived with the lyrics to Roll Up (It's The New Truth), Ron had the bassline, Derek created all the textures, and from the moment Kirsty added the drum parts Trauma Party was born.

You’ve cited The Skeptics, Jesus Lizard, Bauhaus, Swans, Killing Joke and Gang of Four. Which of these influences has grown stronger as you’ve developed, and which unexpected artists have shaped your debut EP?

TRAUMA PARTY: We are firmly rooted in post punk and those influences are definitive for 3/4 of the band. It's reflected in the guitar parts, the polyrhythms, and the sheer force of our sound. However, our bass player Ron brings in something else entirely. His influences veer away from this, and he brings in unique bass lines that a lot of our music is built from.

Ultimately all 6 of these influences were never far from our reach when creating our debut EP.  The angularity and muscular beats, the abrasion and melody, and the lyrical content.  It’s not a conscious action; they are a part of our psyche.

“Trauma Party” is a striking name. Where did it come from, and what does it capture about your worldview, humour, or creative identity?

TRAUMA PARTY: We had what felt like hundreds of band names, and could not decide for weeks.  The group chat was going crazy late into the night! We were on the fence with Trauma Party for a while, but kept circling back, wondering why it felt right for us.

As a band we are all little creative bundles of trauma, bringing our lived experiences into the band room, and into our music.  Our name works as both a light-hearted dig at ourselves, and a recognition of the current tumultuous global state of affairs; the rise of the far right, late-stage capitalism, and environmental destruction. 

Is it mocking?  No, not at all.  We want people to join us, to party, to scream and yell, to experience the uplifting catharsis of a Trauma Party show.

If one piece of your gear turned out to be haunted by a mildly unhelpful ghost (not evil, just annoying), which item would it be and what kind of unhinged, tour‑ruining chaos would this ghost specialise in?

RON: Ha. It is probably the case that much of our gear is actually haunted and resulting in chaos! The ultimate chaos agent though, is probably bass overdrive pedals. They can be pretty unpredictable and quite capable of sabotaging your low end. There is definitely a ghost in my overdrive (we won’t say which company the pedal is from). Sometimes the ghost is in a good mood, sometimes it carries on like a self-centred teenager. It should probably just be taken off the pedal board, but I’m worried about upsetting the ghost…we wouldn’t want it to switch gears and go from ‘just annoying’ to ‘evil’.

Your music blends garage punk energy with post‑punk tension and subversive pop hooks. How do the four of you approach writing together, and what does a typical Trauma Party song look like in its earliest form?

TRAUMA PARTY: We practice and create music surrounded by trees in a huge old converted Woolshed on Waiheke Island.  A Trauma Party song often begins with either a bass line from Ron, or a guitar piece Derek has brought in, and we jam it out in the Woolshed.  Playing around with the riffs, feeling it out.

We aren’t rigid in the writing process, and aren’t trying to fit a genre. The song will just naturally end up 'traumatized' simply because it is the sum of all our parts, of collective creative input. Ultimately, we are a ‘less is more’ type of group, we trim the fat in the song writing process, and definitely work to not repeat ourselves. Each song has its role in both the live show and our EP.

Your track ‘Speak To Me’ tackles loneliness, delusion, and ideological drift with empathy rather than judgement. What personal experiences or observations fed into this song and its message?

TRAUMA PARTY: Buddy’s original inspiration for the Speak To Me lyrics came from observing people disappear down rabbit holes, chasing down random theories, on some mistaken belief that they have found a hidden truth. Seeing the malicious spread of disinformation feeding people’s need to be included, but deluding them, swaying them with extremist rhetoric.

“Speak to me, preach to me, teach me what I need to believe…

Speak to me, reach to me, give me all I need to receive”

Our ‘Speak to Me’ video, directed and filmed by Derek, solidifies these themes, but with our group in the video ultimately rejecting the rhetoric and storming out of the meeting.  We believe helping to highlight extremist propaganda techniques is a great way to resist, along with helping to create strong, supportive music communities.

If you had to choose one artist (living or dead) to act as your personal “emotional support musician” during a stressful tour, who would you pick and what oddly specific advice do you think they’d give you?

TRAUMA PARTY: David Yow from The Jesus Lizard would be amazing. He would tell us we need to give more, go harder, live through the music, create more of a shared experience. He would encourage catharsis and a visceral output, where only blood, sweat, and the occasional boxers should be left on stage.

You’ve already toured the North Island and shared stages with Guitar Wolf, The Jackets, Schkeuditzer Kreuz and LUNG. What do you want people to feel when they walk away from a Trauma Party show?

TRAUMA PARTY: We want them to feel exhilarated! Alive! To know they’ve been part of something wild, fun, sweaty, and untamed. That they gave everything they have, right alongside us.

If you could curate your own three‑day mega‑festival, which bands or artists (they can be alive or dead) would you choose to headline each night, and why do they represent the spirit of Trauma Party?

KIRSTY:  Haha, I’ve got to grab this one.  So, I’ve been to my share of mega festivals so this is easy…

Headliners:

Day 1 The Beat (The English Beat)

Anti-fascist, pro-inclusion and social justice.  Stunning creative songs with punk rock, ska, and pop elements.  A great warm up.

Day 2 Dropkick Murphys

Very active working against fascism..  Saw them at a huge festival in France in 2024 and their celtic street punk had the whole crowd joining together, jumping around, and making friends at the end of the night.  Everything we want at a Trauma Party show.

DAY 3 The Jesus Lizard

Yes, like you’re getting a bit wide eyed by the third night and The Jesus Lizard is gonna take you to the absolute next level!  I’d like to think Trauma Party channels a bit of David Yow at every show.  And yes, drummer Mac McNeilly blows my mind.

AFTER PARTY:  Kiwi band S.P.U.D from the early 90s.  I’m sure vocalist Glen Campbell shares some Yow genes.

Please tell me about your favourite cheese? How do you take it, are we talking crackers/biscuits, crusty bread? I need details please!

RON:  There is this tasty cheddar cheese here that is my go-to. Kind of crumbly. Multiple uses, sometimes with crackers, sometimes shredded and incorporated into other dishes. It is a cheese for all purposes.

KIRSTY:  Haha, you can afford cheese?! 

If Trauma Party hadn’t formed on Waiheke Island but instead in a completely bizarre alternate universe, what would that world look like and what would your band be infamous for there?

KIRSTY:  Ok, so my dream universe? I would need a purple sky, is that doable?  I feel like Waiheke Island has a huge influence on our music, for the three of us that live here.  It is very much an island of the haves and the have-nots, so that’s always going to breed an underbelly of rebellion.  But also we have the beauty, and the artistic community.  Swimming in the pristine ocean before band practice or after sound check, surrounded by nature out at our practice space, and only a quick ferry ride to the booming music scene of Auckland, Tāmaki Makaurau. 

I feel like in an alternate universe, if there are humans, there will always be a need for Trauma Party, a need to celebrate, get wild, fight back.  Perhaps we would be infamous for writing songs about our dreams.  Dreams of a bizarre alternate universe, with a funny little island, where we live surrounded by clear blue water, and make music in a big old Woolshed.

Finally, would you rather live with a singing gorilla or a dog that can clean?

RON: I’ll take the dog that can clean, because I hate cleaning and my autism prefers silence. So that gorilla wouldn’t work for me.

find / follow Trauma Party

Bandcamp – YouTube – Instagram – Facebook

Westside Cowboy’s Bristol date at Electric on Friday 4 December arrives at a pivotal moment for a band whose ascent has been impossible to ignore. Their debut album It Goes On lands on 21 August, setting the tone for a breakthrough year that includes a run of intimate in‑store shows across August and September, a European tour in October and November, and their biggest UK headline tour to date through November and December. The Bristol show sits right in the heart of this momentum, offering fans the chance to catch a band in full stride as they step into the next phase of their rise.

They have quickly become one of the UK’s most talked‑about new guitar bands, earning their reputation through feverishly praised live shows and a growing word‑of‑mouth mythology. Their sound blends wistful guitars, heart‑wrenching harmonies and a restless streak of experimentation, drawing comparisons to the defining acts of a new wave of British indie. What sets them apart is the emotional weight behind their songwriting and the raw electricity of their performances, qualities that have helped them outpace expectations at every turn.

The Bristol date at Electric promises to capture everything that has made their rise so compelling. Fans can expect a set that weaves early favourites with brand‑new material from It Goes On, delivered with the intensity and vulnerability that have become their trademark. Bristol’s reputation for championing breakthrough acts makes this show feel particularly significant; it’s the kind of night where early adopters, indie obsessives and curious newcomers converge to witness a band on the brink of something bigger. The atmosphere is likely to be charged, communal and loud in all the right ways.

With a debut album ready to reshape their trajectory and two major tours expanding their reach, this show offers Bristol audiences the chance to experience a band whose rise is gathering speed and whose future looks increasingly bright. Catch them now, while the rooms are still intimate and the energy is at its most explosive.

The Snuts’ ascent has been one of the most compelling stories in modern British guitar music, a band who’ve refused to play by anyone’s rules but their own, and somehow turned that independence into chart‑topping momentum. When they arrive in Bristol this November for a headline show at The Prospect Building, they won’t just be bringing a new tour; they’ll be bringing the next chapter of a journey that’s unfolded loudly, proudly, and entirely in public.

Since their debut album W.L. smashed its way to Number 1 in 2021, the West Lothian four‑piece have been on a run that most bands only dream of. Three consecutive Top 3 albums. Sold‑out tours across continents. A triumphant headline show at Glasgow’s OVO Hydro.

Their forthcoming record, Joy In Short Moments, landing 23 October, promises a band continuing to evolve without losing the raw, restless energy that made them so magnetic in the first place. It’s a title that feels perfectly Snuts: hopeful, human, and grounded in the everyday flashes of life that make their songwriting resonate.

The Bristol date on Monday 30 November at The Prospect Building sits within a major UK headline run stretching through November and December 2026. It’s a tour positioned not just to celebrate the new album, but to showcase a band operating at full confidence and full volume.

Expect a set that blends the anthems fans already belt back at them with the fresh cuts that will define their next era. The Snuts have always been a live band first and foremost, and Bristol’s intimate‑but‑electric Prospect Building is exactly the kind of room where their energy becomes undeniable.

The Bristol show matters because it captures The Snuts at a moment where momentum, ambition and creative evolution all collide. With three consecutive Top 3 albums behind them, they’re arriving in the city as a band operating at full strength, carrying the confidence of a group who’ve already proven they can command arenas and festival stages. Their new record, Joy In Short Moments, lands just weeks before the gig, adding a fresh surge of material that will shape the emotional core of the night. And with The Prospect Building offering the kind of intimate, high‑charge atmosphere that amplifies every chorus, every riff and every shared moment, this date feels less like a routine stop on a long tour and more like a chance to witness The Snuts connecting with fans at close range — a victory lap that still pushes forward rather than looking back.

The Snuts’ Bristol date is a chance to see one of the UK’s most exciting guitar bands in a room where every lyric, every riff, and every shout‑along chorus hits that little bit harder. With a new album in their back pocket and momentum that shows no sign of slowing, this is set to be one of the standout gigs of the winter.

Thirty years after they burst onto the scene with one of the defining anthems of the Britpop era, Republica are back on the road celebrating the anniversary of their landmark debut self-titled album.

Bringing their unmistakable blend of punk attitude, electronic beats and stadium-sized hooks to Bristol’s THEKLA on Sunday 29 November, the band promise an evening packed with the songs that made them one of the UK's most exciting acts of the 1990s.

Fronted by the unmistakable Saffron, Republica became synonymous with explosive live performances and infectious singles including Ready To Go and Drop Dead Gorgeous, both of which reached the UK Top 3 and helped propel the band to more than three million record sales worldwide.

Fans can expect a high-energy celebration of a catalogue that continues to soundtrack dance floors, festivals and sporting events three decades on.

The Big Moon’s return to Bristol arrives perfectly timed, landing just weeks after the release of Forever, their most emotionally open and musically luminous record yet. This show is the start of a new chapter for one of the UK’s most quietly fearless indie bands.

Fronted by Juliette Jackson, The Big Moon have spent the past decade carving out a space that feels unmistakably theirs, hook‑laden indie rock that balances buoyant guitar-pop with a growing depth and vulnerability. Across their catalogue, they’ve evolved from scrappy, sharp-edged newcomers into a band capable of delivering songs that feel both expansive and intimately human.

Their fourth album, Forever, arrives on 30 October, shaped by Jackson’s personal journey through hearing loss and recovery. It’s a record rooted in resilience: hopeful, warm, and quietly triumphant. Early listeners have described it as their most emotionally rich work yet, pairing shimmering melodies with a renewed sense of clarity and purpose.

The Trinity Centre date lands midway through their short eight‑show UK run, making Bristol one of the cities to experience the new material live. Expect a set that blends fan favourites with fresh cuts from Forever, delivered with the band’s trademark chemistry, tight, joyful, and unafraid to lean into the rawer edges of their songwriting.

This tour feels intentionally intimate: smaller rooms, closer crowds, and a focus on connection. It’s a chance to see The Big Moon at their most open, celebrating a record born from challenge but defined by hope.

Expect a set that moves fluidly between the shimmering new material and the band’s signature guitar‑pop energy, with Forever’s themes of vulnerability, recovery and rediscovery threaded through Juliette Jackson’s unmistakably honest storytelling. The newer songs carry a warmth and emotional clarity that feels tailor‑made for a live room, while older favourites will land with the same bright, melodic uplift that first made The Big Moon such a compelling force.

Australian indie-rock luminary Courtney Barnett returns to Bristol this autumn, bringing her wry humour, razor‑sharp lyricism and unmistakable guitar tone to the Beacon on Monday 19 October. It’s a one‑night stop on her European and UK tour, and a chance to see an artist who has spent more than a decade redefining what modern guitar music can sound like.

Barnett’s rise from Melbourne’s DIY scene to global acclaim has always felt refreshingly unforced. Her conversational delivery, skewed storytelling and knack for transforming mundane moments into vivid, funny, and emotionally resonant songs have earned her a reputation as one of indie rock’s most distinctive voices. From the breakout Double EP to her GRAMMY‑nominated debut album, she’s built a catalogue that feels both intimate and universal.

Her fourth studio album, Creature of Habit, released in March 2026, finds Barnett leaning deeper into introspection. It’s a record shaped by quiet revelations, shifting routines and the strange comfort of repetition, all delivered with her trademark blend of melodic warmth and lyrical bite. Critics have praised it as one of her most emotionally rich works to date, a thoughtful evolution that still carries the spark fans fell in love with.

On stage, Barnett is magnetic. Her performances balance looseness with precision, letting her guitar lines snarl and shimmer while her vocals land with clarity and wit. Expect a set that spans her full discography, the early cult favourites, the festival‑sized anthems, and the new material that’s already becoming fan staples.

This Beacon date is one of the standout moments of her October run across Europe and the UK. For longtime fans, it’s a chance to see an artist at the height of her craft. For newcomers, it’s the perfect introduction to a songwriter whose work continues to shape the sound of indie rock.

The return of Brandon Flowers to UK stages this autumn feels less like a tour announcement and more like a moment. After more than twenty years fronting one of the most influential rock bands of the 21st century, Flowers steps back into the solo spotlight with Thrasher, his first solo record in over a decade, arriving 21 August via Island Records. It’s a release shaped by memory, place and personal reckoning, drawing once again on the stark beauty and emotional weight of his upbringing in Nephi, Utah.

On Saturday 17 October, Bristol Beacon becomes one of the select UK venues to host this rare solo chapter. For fans who’ve followed Flowers through stadium anthems, neon‑lit narratives and widescreen Americana, this show promises a deeper, more intimate lens on the songwriter behind Sam’s Town, Flamingo and The Desired Effect.

Flowers has always balanced spectacle with sincerity, the glittering showman and the small‑town storyteller. With Thrasher, he leans into the latter, exploring themes of identity, faith, family and the landscapes that shaped him. Early previews suggest a record that’s raw, reflective and quietly ambitious, the kind of album that thrives in a venue like Bristol Beacon where nuance and narrative can take centre stage.

This tour gives him the space to revisit his solo catalogue in full, from the Springsteen‑esque sweep of Crossfire to the synth‑soaked warmth of Can’t Deny My Love, while weaving in new material that marks the next evolution of his songwriting. And yes, he’s bringing a handful of Killers favourites too, reimagined for a more personal setting.

The Bristol date sits within a substantial run of shows spanning the USA, Canada, UK and Ireland, beginning 1 September and closing 27 October. UK audiences will see Flowers perform in some of the country’s most iconic rooms, including London’s Royal Albert Hall, a testament to the scale and anticipation surrounding this solo return.

Bristol Beacon, with its world‑class acoustics and reputation for hosting boundary‑pushing artists, offers one of the most atmospheric stops on the tour. Expect a setlist that moves between quiet confession and widescreen drama, delivered with the charisma and emotional clarity that have defined Flowers’ career.

For long‑time Killers fans, this is a chance to see Brandon Flowers without the stadium chaos, closer, more vulnerable, and more connected to the stories behind the songs. For newcomers, it’s an introduction to one of modern rock’s most distinctive voices at a moment of creative renewal.

Man/Woman/Chainsaw are not here to gently introduce themselves. They arrive in Bristol on Monday 10 August with the force of a band who’ve spent their formative years sharpening their sound into something jagged, melodic and impossible to ignore. Their debut album Cannonball, released 7 August 2026 via Fiction Records, is the moment everything snaps into focus: a six‑piece London outfit blending art‑punk abrasion, post‑punk tension, indie‑rock urgency and experimental pop flourishes into a singular, multi‑voiced barrage.

Rough Trade Bristol’s in‑store events are always intimate, but this one feels particularly charged.

Man/Woman/Chainsaw have built their reputation the old‑fashioned way: ferocious live shows, a run of acclaimed singles and EPs, and early backing from BBC 6 Music, The Guardian, and Stereogum. They’ve been tipped as one of the UK’s most inventive young bands, and Cannonball is the record that finally captures the scale of their ambition.

Expect the Bristol set to lean heavily into the new album, its serrated guitars, overlapping vocal lines and emotional heft, while still pulling choice cuts from their back catalogue. For fans who’ve followed their rise, this is the first chance to hear Cannonball in a room small enough to feel every rhythmic jolt.

The album is a collision of intensity and melody, driven by the band’s distinctive multi‑vocal interplay that often feels like a conversation on the brink of collapse, sharpened by art‑punk edges that give way to moments of shimmering indie clarity. Across Cannonball, abrasive textures and emotional urgency sit side by side, creating arrangements that swing between chaos and catharsis, capturing the restless, shape‑shifting spirit that has defined Man/Woman/Chainsaw since their earliest releases.

Man/Woman/Chainsaw will play seven in‑store shows across August, celebrating Cannonball’s release week with close‑quarters performances designed to showcase the album’s raw energy.

Once the dust settles, they head out on a full UK tour from mid‑September to early October, bringing their explosive new material to bigger rooms nationwide.

This Rough Trade appearance is one of those early‑era shows people talk about years later, the moment a band on the brink of something bigger tests their new material in front of a crowd close enough to feel the sparks. Cannonball is built for the stage, and Bristol gets one of the very first chances to witness it.

Yard Act’s return to Bristol this July feels less like an in‑store and more like a checkpoint in the evolution of one of Britain’s most consistently surprising guitar bands.

The Leeds quartet have spent the past decade shapeshifting in plain sight, beginning as razor‑tongued post‑punk agitators before expanding into something far more colourful, theatrical and musically ambitious. Led by James Smith’s unmistakable blend of wit, social commentary and sideways humour, Yard Act have carved out a space that few modern bands occupy: clever without being cold, political without preaching, and playful without losing bite.

Their rise has been anything but accidental. The Mercury Prize nomination cemented their arrival, but it was the touring cycle for Where’s My Utopia? that revealed just how far they were willing to push themselves. That era ended triumphantly at Leeds’ 5,000‑capacity Millennium Square in August 2024, a hometown victory lap that showcased the band’s expanded live identity: dancing backing vocalists, additional musicians, and a looseness that invited audiences to rethink everything they thought they knew about Yard Act.

Since then, they’ve refused to sit still. They wrote the follow‑up while scratching the itch to get back on stage, jumped on the road with The Hives, and even squeezed in an intimate one‑off at Blackpool Tower, a reminder that they can command both spectacle and intimacy with equal confidence.

Their third album You’re Gonna Need a Little Music arrives on 17 July 2026, and if early hints are anything to go by, it promises another shift in tone, a continuation of their restless creativity rather than a reset. Yard Act have always thrived on reinvention, and this new record feels poised to capture the band at a moment of renewed clarity and momentum.

Rough Trade Bristol has long been a proving ground for artists on the cusp of major moments, and Yard Act’s appearance on Wednesday 22 July lands perfectly in that sweet spot: close enough to the album release to feel electric, but early enough to offer fans a first glimpse of where the band are heading next.

Expect sharp storytelling, unexpected arrangements, and the kind of communal energy that has turned their shows into word‑of‑mouth essentials. 

After this run of intimate dates, the band will scale things up again for a 15‑date UK headline tour in November 2026, continuing a journey that has taken them from cult favourites to one of the country’s most compelling live acts.

The setting is the beautiful Westonbirt arboretum, Gloucestershire. With the Sun setting and the temperature cooling to a balmy 16 degrees after the high heat we have had it felt good, the several thousand crowd were donning coats and moving towards the stage. With the slight smell of ‘herb’ in the air you felt the expectation that Richard Ashcroft was about to come on stage.

Earlier that day….

Apollo Junction kicked things off with a burst of Leeds‑bred indie energy. The five‑piece have often been lined up alongside the new wave of Britpop revivalists, and you could feel why — big choruses, confident swagger, and a crowd that was more than happy to jump on board. They definitely connected with the audience, even if their particular flavour didn’t quite hit my sweet spot. Still, as an opener, they set a lively tone for the night.

Tom Meighan exploded onto the stage like a man returning to claim his throne. You could spot his supporters instantly, a sea of ‘Meighan’ and ‘Kasabian’ shirts dotted across the crowd, already buzzing before he’d sung a note.

The band were razor‑sharp, Tom was electric, and together they delivered a set that felt huge, swaggering, loud, confident, and completely in command. He had the entire crowd eating out of his hand, every chorus turning into a full‑throttle sing‑along. The energy was relentless, the atmosphere was charged, and at times the whole thing had that unmistakable Oasis‑esque punch: big attitude, big sound, big moment.

Richard Ashcroft stepped out to a hero’s welcome, the moment everyone had been waiting for, and he delivered exactly what the night demanded. With that unmistakable northern swagger, he strode on stage and launched straight into a set that felt like a masterclass in songwriting, charisma, and pure presence.

Hit after hit rolled out, each one landing harder than the last. The crowd erupted for The Verve classics, belting out The Drugs Don’t Work, A Song for the Lovers, and of course Bitter Sweet Symphony, which turned the entire forest into one massive choir. His voice, timeless, rich, unmistakably Ashcroft, cut through the warm summer air, and the stunning forest backdrop made the whole thing feel almost cinematic.

With the trademark pout, the attitude, and that cool, effortless command, he delivered pure rock ’n’ roll. it was an unforgettable summer moment and the perfect way to close out the Summer Sessions.

A fantastic day and now, it’s time to find the car!

Words and Pictures by Leigh Bruin

There’s something about Download Festival that makes interviews hit differently. Maybe it’s the roar of the main stage that you just cannot escape, no matter where you stand! Maybe it’s the mud‑splattered adrenaline that everyone, artists, fans, crew, seems to run on. Or maybe it’s the simple fact that Donington has a way of stripping away the noise and leaving you with the raw truth of who a band really is.

Across the weekend, our woman on the ground, Martha Fitzpatrick chatted with eight acts who embody the spirit of Download 2026. Each conversation took place on site, in that sweet spot between performance and chaos, where artists are still buzzing from the stage or gearing up to unleash hell on it. What we captured is a snapshot of the festival’s beating heart: the voices shaping the future of alternative music.

Below, you’ll find a curated hub of all eight video interviews. Dive into whichever act grabs you first, or binge the whole lot and relive the weekend through the people who made it unforgettable.

Enjoy!

SET IT OFF

RXPTRS

MARMOZETS

AS EVERYTHING UNFOLDS

CONJURER

HEADWRECK

NATIVE JAMES

ANNISOKAY

We hope yu enjoyed the videos as much as we did creating them, if you DID, please feel free to share on your own socials and help to spread the good work that we here at musomuso are doing.

Until next year!

All interviews are © Martha Fitzpatrick

Over the past few years Lewis Capaldi has delivered a run of spellbinding, heart‑thumping songs that have turned everyday moments into emotional epics, they are the kind of tracks that feel like they were written for YOU, even when millions are singing them at the same time. There’s a vulnerability to his voice, a lived‑in honesty to his writing, and a self‑deprecating charm that somehow makes the heartbreak hit even harder. It’s this rare combination that’s pushed him from rising star to cultural phenomenon, a storyteller whose appeal stretches far beyond genre or generation.

And that magnetic pull is exactly why Powderham Castle is going to feel electrified on Saturday 27th June, when Capaldi steps onto that stage with the River Exe behind him and a field full of fans, ready to belt every word back at him. His shows are similar to communal therapy sessions wrapped in humour, vulnerability, and those colossal choruses he’s become known for. As he brings his catalogue of modern classics to one of the South West’s most picturesque venues, it promises to be a night where the jokes land, the emotions run high, and the songs remind you why Capaldi remains one of the most compelling voices in pop today.

Come the day, we arrived late afternoon, the traffic had picked up from the previous evening, then again, it was Saturday and many people wouldn’t have been working. We picked up our tickets and headed in for a drink and a sit down in a nice shaded area, the sun was beating down but, with a fair breeze in the air, it didn’t feel as muggy as it did for the Alanis Morissette show the night before.

Come meet up time, I took to the photo pit to capture some images of the opening act.

Supporting Lewis Capaldi is no small assignment, but Tyler Ballgame, the Rhode Island‑born singer with a voice that bends between bel canto drama and indie‑folk intimacy, approached it with quiet confidence. Usually part of a six‑piece band, he stripped things right back for this Devon crowd, performing with just his keyboard player. The result was a set that felt cinematic in its simplicity, letting his extraordinary tenor fill the open air with warmth, ache and old‑school showmanship.

Tyler Ballgame was born Tyler Perry in Cumberland, Rhode Island, he grew up in musical theatre before studying songwriting at Berklee College of Music. His early career was marked by self‑doubt and false starts, but everything shifted when he moved to Los Angeles at 29. It was there, during a run of open‑mic nights, that audiences responded powerfully to his dramatic, Orbison‑esque delivery, especially his rendition of “Crying”. That reaction helped him shape the persona he performs under today. The name “Ballgame” itself is a nod to baseball legend Ted Williams (“Teddy Ballgame”), a playful, larger‑than‑life alias that allowed Tyler to step into a character bigger and bolder than the one he’d lived with for years.

His breakthrough came when he connected with producers Jonathan Rado and Ryan Pollie, who helped him craft his debut album, For the First Time, Again, a lush, analog‑rich record released in early 2026. Powderham Castle proved the perfect setting for several of its standout tracks. Matter of Taste swelled beautifully in its stripped‑back form, Goodbye My Love showcased his Orbison‑like emotional reach, and Got a New Car landed with reflective charm. He closed with I Believe in Love, a soaring pep‑talk anthem that let his voice ring out across the castle grounds.

Minimalist sets can expose an artist, but tonight, they revealed Tyler Ballgame at his most compelling. No theatrics, no band, no safety net, just a voice, a keyboard, and a performer who seems to carry decades of musical history in his lungs. Powderham Castle came expecting Lewis Capaldi’s big‑hearted choruses, instead, they were treated to a spellbinding opener who delivered something quieter, stranger, and utterly unforgettable.

Following Tyler Ballgame was Jacob Alon, again, I trudged into the photo pit to capture him in action.

Jacob Alon walked onto the stage without fanfare, just them, an acoustic guitar, and a field slowly settling into the evening. It was a strikingly intimate way to open a night headlined by Lewis Capaldi, and an unexpectedly poetic pairing, given that both artists are Scottish, both are rising voices in modern emotional songwriting, and both live with Tourette’s syndrome. It’s rare to see two performers with shared neurological experiences on the same bill, and rarer still to watch how differently they channel it: Capaldi through humour and self‑effacing charm, Alon through dreamlike introspection and a kind of shimmering emotional intensity.

Their opening number, performed solo, was beautiful, brittle, and occasionally chaotic. Alon’s voice, which sits somewhere between Jeff Buckley’s tremulous upper register, Matt Bellamy’s theatrical quiver, and Thom Yorke’s spectral falsetto, drifted across the grounds with a fragile, aching clarity. But the song also spiralled into what can only be described as a full‑blown swear‑a‑thon, with ‘MF’ bombs dropping like confetti. With so many younger kids dotted around the crowd, it felt a touch excessive, but then again, who am I to tell an artist how to display their art? Alon has always embraced imperfection, unpredictability, and the unfiltered edges of performance, and this moment was very much in keeping with that ethos.

Once their band joined them, the set deepened into something more expansive and self‑indulgent, not in a negative sense, but in the way that artists who build worlds rather than singles tend to be. Alon’s songs, drawn from their Mercury‑shortlisted debut album In Limerence, unfolded like chapters from a private fairytale: misty folk textures, surreal imagery, and a queer emotionality that feels both tender and defiant. There’s a theatrical streak to their delivery, too, a kind of gold‑flecked mysticism that has become part of their visual identity, but it never tips into pretension. Instead, it feels like watching someone peel back layers of themselves in real time.

What’s most compelling about Alon live is the contrast: the softness of their voice against the sharpness of their lyrics, the vulnerability of their presence against the confidence of their craft, the fantasy of their storytelling against the very real neurological challenges they’ve spoken openly about. Powderham Castle, with its sweeping lawns and family‑friendly atmosphere, might not have been the obvious setting for their brand of introspective folk surrealism, but it worked. The crowd leaned in. The kids took notice. The adults listened. And Alon, glowing in the late‑June light, delivered a set that felt like a quiet spell cast over the grounds.

By the time they left the stage, the contrast with Capaldi’s forthcoming set was clear: two Scottish artists, two extraordinary voices, two very different ways of navigating the world, and two performers who refuse to let Tourette’s define or diminish their art. If Capaldi is the everyman superstar, Alon is the mystic storyteller. And together, they made Powderham feel like a place where vulnerability, humour, and raw emotion could coexist naturally.

Lewis Capaldi appeared on the stage exactly one year on from his headline‑stealing Glastonbury 2025 appearance, the night he showed the world he was ready to step back into the spotlight after taking time out to manage his Tourette’s, Capaldi arrived in Devon sounding stronger, looser, and more himself than ever.

Early in the set he grinned into the mic and asked the crowd whether Powderham was “ready for a party”, immediately undercutting himself with the punchline that it might be difficult because he had “18 ballads” lined up. Classic Capaldi: self‑mocking, self‑aware, and instantly loved for it. He also mentioned he’d visited a “pebbly beach” before the show, he didn’t specify which one, but whichever stretch of Devon coastline he wandered onto, locals unknowingly shared their afternoon with one of the biggest pop voices of the last decade.

Despite the jokes about ballads, the opening run was surprisingly upbeat. His large touring band gave the early tracks a lively, full-bodied lift, drums punching through the dusk air, keys and guitars filling the grounds with warmth. It was a reminder that Capaldi’s catalogue isn’t just tear‑jerkers; it’s built on big, bold pop songwriting that can absolutely carry a festival‑sized crowd.

The set spanned both of his studio albums, Divinely Uninspired to a Hellish Extent (2019) and Broken by Desire to Be Heavenly Sent (2023), and the contrast in how he delivered them was striking. Some songs saw him tucked behind his acoustic guitar, shoulders slightly hunched, letting the instrument act as a shield. Others had him standing alone at the mic, hands wrapped around the stand, nothing between him and the thousands watching. It’s a vulnerable position for any artist, but Capaldi has grown into that spotlight; he wears it comfortably now, even when the songs dig deep.

Capaldi’s live staples landed exactly as expected, huge, emotional, communal. Tracks like, “Before You Go”, “Bruises”, and “Forget Me” turned the Powderham grounds into what might genuinely be the biggest karaoke session that Devon has ever witnessed. Every chorus was swallowed by the crowd, every line echoed back at him with the kind of volume that makes an artist pause and smile. At times, Capaldi simply stepped back and let the audience take over, visibly moved by the sheer force of it.

As the final notes of “Someone You Loved” drifted out across the castle grounds, Capaldi stepped back from the mic, visibly moved by the tidal wave of voices still echoing his lyrics. Then, in perfect timing, the sky above Powderham erupted into a firework display — a burst of colour and crackling light that crowned the night with a sense of celebration.

Capaldi’s return to full touring form feels complete now. Powderham Castle hosted a moment. A reminder that even an artist who jokes about having “18 ballads” can still throw one hell of a party.

images © Cuffe & Taylor and musomusouk

After a week of record-breaking temperatures, there was something peaceful about arriving at the Eden Project on a Friday evening, the biomes glowing in the late sunshine as hundreds of fans streamed down to the arena to witness one of alternative rock’s most influential bands play in Cornwall. The heatwave showed no signs of easing, as the doors opened and some ran for their spot at the barrier, with others relaxing on the grass hills towards the back with their double pints of cider. 

Opening the evening were Birmingham trio Gans. I was so excited to see that the band were on the lineup, after hearing many good things from friends in the industry, but had never seen them play a gig in the Southwest before. They wasted no time in making an impression. Their abrasive post-punk  was delivered with a relentless wall of intensity, to the point where us photographers in the pit were genuinely asking each other whether they’d already played three songs or not, each track crashing into the next. In what I think was the third song, the drummer took off his top and got up from behind his drum kit, encouraging a circle pit to form and not long after, jumping into the crowd and surfing on top of the fans. I watched from the side of the stage, bemused and disappointed that he did this during the fourth song, when I wasn’t allowed to take any pictures! Typical!

Then came Pixies. They launched into Cactus, Nimrod’s Son and then, I heard the opening chord of Here Comes Your Man. That song was one of the moments that reminds you why live music is so special: with a packed electrified bouncing crowd behind me and the band themselves in front of me, I was sandwiched between thousands of voices and Pixies, during one of their most iconic songs under the clear Cornish sky, it was a moment I won’t forget. It was also, admittedly, the point where I realised I’d made a huge mistake by forgetting my ear protection…Pixies have never been a quiet band, and the volume definitely didn’t subside when I made my way back into the crowd after the first three songs. Every distorted guitar riff and drum fill hit with force, feeling as much of a physical performance as it was musical.

Highlights on the setlist for me were bouncing along to Monkey Gone To Heaven and Wave of Mutilation, unmistakably fan favourites, but the setlist also offered covers like Head On by Jesus and Mary Chain and In Heaven (Lady In The Radiator Song) by Peter Ivers and David Lynch. 

Undoubtedly, they never let the momentum drop. For me, if there was one disappointment, it was the absence of Velouria from the set. With such an iconic catalogue, some missing songs are inevitable, but I’m sure these were ones many fans were hoping to hear

.The Eden Sessions always offer a unique setting for live music and it was here that Pixies proved their music hasn’t lost its power. There aren’t many places where you can watch a band like Pixies, framed by giant illuminated rainforest domes as the sun slowly disappears into a sky of wispy pink.

Sometimes all you need is a bit of sun, nature and ninety minutes of being beautifully deafened.

Words and Pictures by Anna Leader ©

A Tuesday afternoon in June saw my family and I pile into the car, headed for the winding country lanes of Cornwall that led us to the unmistakable greenhouse domes of The Eden Project. It’s one of the UK’s most unique concert venues, nestled amongst lush tropical gardens and Mediterranean landscapes. Even before a single note was played, this gig felt like a special one.

The weather, however, had other ideas - its unpredictability this evening was no exception as moments of hopeful sunshine were immediately put to sleep by the thick Cornish fog, and then replaced by rain as everyone piled into the arena.

Poised with my camera beside the photo pit awaiting support band Girl In The Year Above’s set, I watched the crowd for interesting characters that would be good to capture in an image. I noticed a wonderful variation of younger fans mixing alongside those who have followed Wolf Alice from the very start. At the barrier, diehard teenage fans proudly sported Just Two Girls and limited edition Eden Project merch, excitement building.

Support act, Girl In The Year Above, took to the stage with a dreamy indie rock sound that warmed up the steadily growing crowd. Frontwoman Jennifer Ball wore a custom Minski co-ord that combined Cornish and Irish tartan, a nod to the band’s heritage, while she commanded the stage with stunning vocals that reminded me of The Last Dinner Party’s Abigail Morris. After the gig, I saw plenty of comments online from fans, saying that Girl In The Year Above will be headlining the iconic domes in a few years.  

With the crowd warmed up, Wolf Alice took to the stage to the claps of Bloom Baby Bloom, followed by White Horses and Formidable Cool. Those first few tracks are a photographer’s dream to be in the pit for - a balance of immediate anthemic energy, a dip for a quieter moment for atmospheric shots, rounded off by a commanding performance combined with dramatic lighting that highlighted the intensity of the track.

Back in the crowd now, fans of the 2021 album Blue Weekend were particularly in luck, as the setlist leaned heavily on the acclaimed album. Fittingly, the gig happened to fall on the fifth anniversary of its release, making the selection feel like a subtle celebration of one of the band’s defining records. Midway through the set came a stunning three-song run of tracks from the album - moving from the dreamy introspection of Delicious Things, to the vulnerable Lipstick on The Glass and finally exploding into fierce confidence with Smile. Together, the trio showcased the emotional range and the depth that Blue Weekend has to offer five years on.

Following that sequence came my personal highlight of the night: Bread Butter Tea Sugar. Everything clicked perfectly - Ellie’s vocals were effortlessly captivating, Joff’s guitars shone at just the right moments, and the rhythm section locked everything together with uncanny precision. This happy song was abruptly interrupted by piercing red and blue flashing sirens and the return of Ellie’s iconic megaphone, with an epic performance of Yuk Foo that went straight into Play The Greatest Hits. The set was brought straight back down with a captivating delivery of Silk and really encapsulated just how much varied talent this band has, never losing their momentum.

If I had one criticism, it would be the lack of songs from their latest album. I missed tracks like Thorn, Passenger Seat and, my personal favourite, Play It Out. That said, it’s hard to complain when a band has built such a strong discography over the past decade.

The backdrop of The Eden Project elevated Wolf Alice’s performance - a balance of delicacy, atmosphere and explosive bursts of energy against this Cornish setting enhanced the experience of seeing them live, further establishing them as one of the UK’s best bands at the moment, without a doubt. 

Words and Pictures by Anna Leader ©

When I heard that Alanis Morissette was performing at Powderham Castle this summer, I was excited – very excited. And I’ll admit it, a small, delusional part of me was quietly hoping she’d walk out and play her debut album front‑to‑back. I know it absolutely wasn’t going to happen, but the fantasy is half the fun.

Her Glastonbury 2025 set, a late‑afternoon slot that felt suspiciously like a headline moment, was one of those rare festival alignments where everything clicked. Her voice was towering, the band razor‑sharp, and the Pyramid Stage crowd heaved with the kind of communal release usually reserved for the final act of the night. Many walked away saying she should have closed it. It was a reminder that Alanis remains a generational force, still performing with the urgency, wit and emotional voltage that made her a phenomenon in the first place.

That energy funnelled straight into TK Maxx presents Live at Powderham, where she topped a bill stacked with powerful female‑fronted artists. Powderham’s sweeping grounds offered something more intimate than Glastonbury’s vast sprawl, but no less electrifying. With ten studio albums to draw from, the promise was simple: classics, deep cuts, and the raw, unfiltered connection she’s honed over three decades onstage.

And who knows… maybe a surprise or two. Just probably not the full‑album fantasy I was clinging to.

As we entered the site, the distant tones of The Big Moon drifted across the field. Formed in London in 2014, the band quickly carved out a space in the UK indie scene with their Mercury‑nominated debut Love in the 4th Dimension, followed by the more expansive, synth‑leaning Walking Like We Do and the emotionally rich Here Is Everything.

It was 5pm, that sweet spot where half the crowd has only just arrived and the other half already resembling the shade of the red Mr Whippy ice cream van we passed on the way in. With three albums (four if you count the deluxe edition of the latest release) to choose from, their set spanned their career with enough familiar favourites to keep the masses happy.

“Your Light,” lifted from their 2020 record, drew the biggest reaction, a shimmering, communal moment that set the tone for the evening.

After a short break and a pint, Pale Waves took to the stage. Formed in Manchester in 2014, the band first emerged with a moody, goth‑pop aesthetic that sat somewhere between The Cure and early 2000s emo. Their debut My Mind Makes Noises cemented them as one of the UK’s most intriguing new acts, before later albums leaned further into pop‑rock sheen.

The last time I saw them was at Plymouth Pavilions as part of a four‑band showcase with a very young Yungblud, The Amazons and The Vaccines. Back then they were darker, more underground, more post‑punk. Tonight, though, the set leaned confidently into pop — polished, melodic, and clearly the product of a band who’ve grown into themselves.

A superb cover of The Cranberries’ “Zombie”, one of their key influences, landed beautifully. And the full‑circle moment wasn’t lost on anyone: Pale Waves once cited Alanis as a major influence, and here they were, opening for the very artist who shaped them.

The final support slot belonged to Skunk Anansie, a band who need no introduction to anyone with even a passing interest in 90s alt‑rock. Formed in 1994, they tore through the decade with politically charged, genre‑defying records before splitting in 2001. SKIN pursued a solo career, the others scattered into various projects, and then in 2009 they reunited, older, wiser, but still utterly ferocious.

In 2026, they’re still knocking it out of the park.

SKIN strode onstage in an oversized leather gilet, baggy trousers and yellow trainers, the kind of ‘final boss’ look that screamed “I could end you”, yet somehow carried the unmistakable aura of someone who’d probably pull you into a massive, bone‑crunching hug instead. That’s her magic: all ferocity at first glance, all heart once you’re in her orbit. And here’s the wild part, she’s less than two years away from her free bus pass, yet she moves with the restless, electric energy of someone half her age, bouncing, prowling and commanding the stage like it’s her natural habitat. “Fucking hell, it’s hot,” she laughed between songs, and she wasn’t wrong. The sun was dipping, but the heat onstage must have been brutal.

Mid‑set, she delivered one of the most memorable moments of the entire evening. With zero warning, SKIN vaulted over the front barrier and went for a wander through the crowd, armed with her now‑legendary SKIN CAM, a roving, close‑up lens into the chaos. Fans parted, swarmed, cheered and filmed as she moved through them, a rock icon strolling through her kingdom.

Then the track kicked up a notch.

Suddenly she found herself caught in a small but enthusiastic mosh pit, pinned against the barrier as the crowd surged. She looked absolutely delighted, maybe a bit too delighted, grinning as she was jostled around like a fan who’d snuck into her own gig. Eventually, security hauled her out of the pit and deposited her back onstage, where she carried on as if nothing had happened.

Their set was a career‑spanning riot, complete with a new track that went down exceptionally well. By the time they left, the arena was packed, buzzing, and more than ready for the main event.

Alanis Morissette needs no introduction. Watching her Glastonbury 2025 performance sent my head into orbit. Here is an artist who, in the 90s, sang openly about subjects many were too scared to touch, sexism, power imbalances, emotional trauma, the messy realities of being a woman in a male‑dominated industry. And the thing is: every word still rings true.

Progress has been made, more voices are heard, more behaviour is called out, more space has been carved for LGBTQ+ people and women in music, but the emotional core of those songs remains painfully relevant.

I wished for Jagged Little Pill in full, and honestly, I didn’t come away disappointed.

The setlist was varied, generous, and beautifully paced. Midway through, she gathered her band around a piano for a stripped‑back, acoustic‑led trio of songs, bare, intimate, and still devastatingly powerful three decades on. Her voice was pitch perfect and she showcased her range and staying power on many occasions, each time, the audience bursting into sheers and applause as she managed to hold a note longer than anyone had expected!

The opening run was pure nostalgia: “Hand in My Pocket”, harmonica blazing, crowd roaring, “Head Over Feet” and “You Learn”, Faces lit up everywhere. Nobody was leaving short‑changed.

The acoustic segment featured “Rest”, “Mary Jane”, and a reprise of “Rest”, a gorgeous, vulnerable moment that showcased just how timeless her songwriting is.

Then came the big hitters - “Ironic” — mass sing‑along, obviously, “All I Really Want” — Alanis holding the mic out as the crowd took over & “You Oughta Know”, still venomous, still cathartic, still iconic

The encore delivered “Uninvited” and closed with “Thank U”, the perfect ending to a near‑anthemic night. She thanked the audience for continuing to show up for her and her band. And honestly? We couldn’t have been more appreciative. It’s not every day a world‑class superstar turns up on your doorstep with the River Exe shimmering behind her.

It was magical. The support acts were perfectly curated, each bringing something distinct while warming the arena for the main event. Alanis delivered a set that was nostalgic without being stuck in the past, emotionally charged without being overwrought, and powerful in all the ways that matter.

I may never see her again, who knows, but I’m so glad I got the chance to see her here, in Devon, without travelling hours to do so.

Bravo.

Words - Steve Muscutt

Pictures - © Cuffe & Taylor & musomuso

When Colour TV frontman Sam Durneen isn’t sweating through one‑day festival marathons or accidentally manifesting Shed Seven frontmen into existence, he’s obsessively dissecting the artists who shaped him. For the debut edition of Five That Formed Me, Sam sat down to talk through the five acts that moulded his songwriting, his worldview, and even the artwork on Colour TV’s debut EP.

What follows is a portrait of a musician shaped by melody, melancholy, brevity, emotional honesty, and a fascination with the tension between beauty and darkness.

1. Radio Free Alice

Radio Free Alice are the newest band on Sam’s list, and the one he’s currently most obsessed with. He discovered them about a year ago through Spotify’s DJ feature while driving with Colour TV bandmate Jack Yeo (guitar). Their first reaction was dismissive (“Nah, this isn’t for us”), but that knee‑jerk scepticism didn’t last long.

Over time, Sam became completely hooked. He describes them as occupying a post‑punk / new‑wave niche that aligns perfectly with the band he imagines in his head. “In a perfect world, we’d have written all their songs.”

He loves their sharpness, their speed, their melodic instincts, and their ability to keep songs tight and punchy. That brevity, two‑minute bursts of energy, has already begun influencing Colour TV’s own writing. He admits he’s always gravitated toward songs that “give you everything in the first 30 seconds,” and Radio Free Alice embody that ethos.

Sam also hears a subtle gothic edge in their sound, something he finds compelling. Although they’re Australian, he notes they avoid the surf‑rock or spaced‑out indie tropes often associated with the region. Instead, he hears echoes of Talking Heads, Crowded House, The Cure, and Joy Division, all bands he loves.

His favourite tracks shift constantly as he discovers new corners of their catalogue, but he name‑checks:

• Regret (from Empty Words, 2025)

• Toyota Camry

• Empty Words

• Rule 31 (standalone single)

• Lunch Money (new album campaign)

He’s so invested he even has a question ready for the band: “Is there a better single than ‘Lunch Money’ on the new album?”

2. The Smiths

If Radio Free Alice are Sam’s current fixation, The Smiths are his origin story.

He discovered them around age 11 or 12, after hearing Please Please Please Let Me Get What I Want via a Horrible Histories parody and then from his mum. The effect was immediate and transformative. “It completely blew my mind… anyone can use their voice to express whatever’s going on in their head.”

Growing up as a melancholy, introspective kid, The Smiths felt like they were written specifically for him. He describes his childhood as “sepia‑toned,” and The Smiths slotted perfectly into that emotional landscape. “It does something to your brain chemistry.”

Sam believes The Smiths wrote “the best music on guitar ever” and that no band before or since has matched the combination of Johnny Marr’s musicality and Morrissey’s lyrical strangeness. He’s listened to every song “a million times,” to the point where he hopes he’ll forget them by age 67 so he can experience them fresh again.

He’s not a Morrissey fan today, but the band remains the biggest influence of his life.

A surreal full‑circle moment came when Colour TV supported Mike Joyce at a DJ set in Dartington’s Things Happen Here venue. Joyce watched their entire performance, gave them hugs, encouragement, and remembered them years later on his book tour. For Sam, it was “totally insane.”

He also cites:

• Patti Smith’s Horses as an influence on The Smiths

• The Monochrome Set as a key precursor

• The band’s brief glam‑rock flirtation in their later period

• Strangeways, Here We Come as an underrated masterpiece

• The self‑titled debut as the album that speaks to him most

Chosen track: Jeane (B‑side to This Charming Man)

3. The Drums

If The Smiths were Sam’s musical religion, The Drums were his escape from the cult.

He discovered them around age 17–18 through the track Money, which opened the door to a band that blended Factory Records gloom with 60s surf‑pop brightness. Their early work, he says, feels like: “Factory Records meets Surfing in the USA.”

The Drums taught him something crucial: simplicity.

Sam admits he used to overcomplicate his lyrics and structures. Hearing The Drums’ straightforward, repetitive, melody‑first approach changed everything. Their influence is directly audible in Colour TV’s early single Billy Pilgrim, whose chorus was rewritten after Sam absorbed their ethos.

He even modelled the back cover layout of Colour TV’s debut EP on the back of The Drums’ debut album — intentionally and exactly. “I copied it — completely.”

He also loves the band’s emotional vulnerability, their minimalism, and the way they make sadness sound bright.

Favourite track: Skipping Town (from their self‑titled debut)

4. Joan Baez

This is the curveball in Sam’s list — but it’s deeply personal.

Last year, Sam went through a period where he immersed himself in folk music for emotional reasons. That journey led him to Joan Baez, whose records his younger brother collects. What captivated him wasn’t just her voice, but the emotional tension in her relationship with Bob Dylan — especially when she covered his songs.

Sam finds the friction between them “completely inspiring,” particularly when she sings lyrics Dylan wrote about her. He’s fascinated by the way their personal history bleeds into the performances.

Colour TV fans may not realise it, but Baez is already woven into their music: The closing sample on Wake Up, Sleep God is Joan Baez speaking in the Rolling Thunder Revue documentary. Sam chose a tender, bittersweet exchange between Baez and Dylan that loops at the end of the track.

Chosen track: Don’t Think Twice, It’s All Right (Dylan cover)

5. The Last Dinner Party

The final act on Sam’s list is The Last Dinner Party, a band he first encountered through the huge YouTube ad campaign surrounding their debut single Nothing Matters. As a musician himself, he couldn’t escape the hype, but it wasn’t until he saw them live at the Isle of Wight Festival that they truly clicked.

For Sam, that performance was a revelation. “It was like, oh — that’s how you do it.”

It was the last set the whole of Colour TV watched together before rushing off to play their own show, and the timing made the impact even stronger. He was struck by their energy, their command of the stage, and the sheer theatricality of their performance.

Musically, Sam hears influences from all over the map:

• Kate Bush

• David Bowie

• Florence + The Machine (in their fan culture and visual aesthetic)

• And most strongly: Suede

He’s quick to clarify that the Suede comparison isn’t superficial, it’s something in Abigail Morris’s yelping vocal quality, the sexuality, the glam‑rock abandon, and the swagger that reminds him of early Suede. “It’s an enormous compliment,” he says.

He also notes a 70s quality in their sound and presentation, even though the band themselves have pushed back against being labelled a glam revival. Their career trajectory, he says, mirrors Suede in another way: starting with something glam‑tinged before evolving into a more 80s new‑wave palette.

Sam also talks about the shift between their debut and sophomore albums. He found the debut more immediate, while the second album introduced a country‑tinged angle that initially threw him. But seeing the new material live changed everything, songs he didn’t think were hooky suddenly revealed multiple vocal hooks he couldn’t stop singing.

He describes being hypnotised by their Isle of Wight set, particularly by the freedom and physicality of their performance. “It’s difficult to be on stage and be that free.”

He also loved that they debuted a brand‑new, unreleased song with a “la‑la‑la” chorus that instantly reminded him of Suede’s Beautiful Ones. “That’s all you need — get thousands of people singing la‑la-la out loud.”

By the time they closed with Nothing Matters, Sam felt so connected to the rest of the set that he didn’t even need to stay for the crowd‑pleaser. “I’d been so transfixed by the magnetism of the rest of the set.”

Final Thoughts

Across these five acts, a picture emerges of Sam Durneen as a musician shaped by melody, melancholy, brevity, emotional honesty, theatricality, and a fascination with the tension between beauty and darkness.

From the gothic jangle of Radio Free Alice to the sepia‑toned introspection of The Smiths, the surf‑tinged gloom of The Drums, the folk‑poetry of Joan Baez, and the baroque‑glam ambition of The Last Dinner Party, these are the artists that formed him.

If this is the blueprint, it’s no wonder Colour TV sound the way they do.

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“The universe is alive with forces of love, creativity and wonder,” says Gabi Garbutt. Damn right. On new album Radical Love, the West London singer-songwriter delivers an optimistic, nature-oriented, sexually-charged call to arms: their most contemporary-feeling, emotionally candid work to date.

Opener ‘Radical Love’ sets the tone splendidly, all pared-back ’80s synth chug and Gabi’s trademark visceral lyrical filigree: “A love like slanted light revealing all that’s broken”; “the cortisol ruining the meat of our survival”.

Compared to previous Gabi albums, these lyrical acrobatics are given more space to breathe, and, to my mind, this is all to the better. Long-term admirers may still bathe in her sparkling mosaics of simile, as on ‘Let The Tree Sing’, where “shards light up like terrified stars / fallen flowers wheeze” and “gears wind our clambering bones”.

Still, for me, the record is at its best when it is most plainspoken. ‘Snaggletooth’ – arguably their best work ever – reflects on long-gone childhood, an awkward period “sped up to child’s time”, where our young heroine was “left alone to bark and howl / In the corner of the playground”.

The guitar on that is lush, simple, clean. But boy, when they go hard, they go hard. ‘Never Danced So Much’ is a full-blooded, nostrils-flared torch song, about being “fucked into the future… Your hand charged by some dark arts / Slide your fingers in my mouth and I am yours”. Woof.

Still, the scope of this record is so much broader than nostalgic introspection and the finer points of queer ecstasy. ‘New Kind Of Weather’ tackles the looming spectre of climate change, calling out the “fucking liars”, of course, but also taking the optimistic stance that, in whatever dystopian hellscape our children inherit, “We won’t be caught up in / A storm of murder and theft / We’ll be holding each other up / And sharing out what’s left.”

Let’s hope so, eh.

My favourite bit on the album — quick shout-out to those moody, thalassic synths on ‘Deep Sea Creatures’ — is the dainty acoustic reprise of ‘Radical Love’ at the end. The chorus, “We belong together, all of us here right now / Never fearing the other / Always reaching out” is gorgeous in this arrangement, sung with heartfelt campfire candour.

Anyway, well worth a spin: a positive vision for an uncertain future, rendered beautifully with gem-bright production. Not scolding from the tower, but dancing unselfconsciously, cheeks aflush, toes curled in the soil.

Andy Hill