Die Twice don’t release singles so much as they open portals, and with ‘Jalapeño’, the lead track from their new EP Accept Me Like A Lie, the Brighton‑based four‑piece pull you straight into the delirium. It’s a song that smoulders, snaps and finally erupts, and its accompanying video only deepens the spell.

Somewhere between a midnight tube ride, a Brighton house party and a freezing December swim, director Milo Hume found the visual language for ‘Jalapeño’. Hume, whose work with Geese and Witch Post already marks him as one of the UK’s most distinctive young directors, first met the band by chance on the Underground. One show later, he was swept into their orbit: an all‑night haze, a sunrise escape into the sea, and a set of images that refused to leave him.

Months on, those memories resurfaced as the backbone of the ‘Jalapeño’ video, a piece that feels like the afterglow of a night you can’t fully remember but can’t shake off either.

‘Jalapeño’ is Die Twice at their most potent:

• Olly Bayton’s vocal glides like smoke, half‑croon, half‑incantation

• Blue Lloyd and Jake Coles lock into a rhythm section that pulses, prowls and occasionally bares its teeth

• Billy Twamley’s guitars flicker between shimmering restraint and something far more feral

It’s a track that understands the power of patience — letting atmosphere bloom before the inevitable ignition.

Written during a period of transition and produced by Ru Lemer (Foals), mixed by Adrian Hall (Depeche Mode, Anna Calvi) and mastered by Nick Watson (Sea Girls, Warpaint), Accept Me Like A Lie unfolds with a hypnotic, cinematic pace.

Each track feels like a different room in the same house:

• ‘So Proud’ — Spaghetti Western guitars hang in the air like the silence after an unresolved argument

• ‘Jakobo’ — a saloon‑bar piano gives way to weightless verses and a chorus that detonates

• ‘Easy On The Blow’ — a haunted groove that drifts like smoke

• ‘Wishbone’ — pizzicato strings and fractured rhythms hint at where Die Twice might be heading next

It’s a debut that refuses to rush, choosing instead to pull listeners deeper into its world.

LISTEN HERE

Part of Die Twice’s magnetism comes from the collision of their influences:

• Blue’s basslines draw from punk and hip‑hop — The Sex Pistols, The Stranglers, High Focus

• Jake brings the taut, rhythmic instincts of The Police, Wunderhorse and Geese

• Billy channels Isaac Hayes and Stevie Wonder, shifting from delicate chiming lines to monstrous riffs

• Olly cites Nina Simone, King Krule and Erykah Badu — a vocal that feels more like an instrument than a lead line

Together, they create something that feels familiar yet entirely their own.

Formed in Exeter after Bayton and Lloyd met at college, Die Twice quickly became fixtures of the city’s underground scene, selling out 500‑cap rooms on their own steam before relocating to Brighton in 2025.

Since then, they’ve embedded themselves in the city’s creative undercurrent, building a fiercely loyal following through word‑of‑mouth and increasingly unmissable live shows. Their sold‑out ‘Mosquito Nights’ residency cemented their status, while their recent ‘Mascara Parties’ run in London drew friends and collaborators including Nieve Ella, Saint Clair, Brooki, MORN, Tough Cookie and more.

In an era obsessed with immediacy, Die Twice are defiantly slow‑burn. Their music breathes. It lingers. It invites you in rather than shouting for your attention.

Accept Me Like A Lie isn’t just their debut EP, it’s a statement of intent from a band who know exactly what they’re building and aren’t afraid to take their time doing it.

Catch Die Twice on the following dates,

9th June Castle Hotel, Manchester

11th June The Exchange, Bristol

12th June ALPHABET, Brighton

24th June Chess club Presents: Eaves Wilder, Die Twice

10th July Sound Factory Festival

08 August Boardmasters Festival

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Wychwood Festival has always traded on its charm, that gentle blend of family‑friendly ease and quietly impressive bookings, but 2026 felt different the moment you stepped onto Cheltenham Racecourse. With the horses long gone and the May sun bouncing off a sea of tents and fluttering flags, the place had transformed into a self‑contained world of colour, noise and good‑natured chaos. You could feel it in the air: this was going to be a big one.

What unfolded across the weekend was a festival growing confidently into its own skin. Friday eased in with local talent and unexpected curveballs, before Sophie Ellis‑Bextor swooped in to save the day with a headline set that turned rumour‑ridden uncertainty into a glitter‑soaked triumph. Saturday dialled everything up, louder bands, bigger crowds, and a run of performances that swung from indie nostalgia to modernist pop shimmer without ever losing momentum. By Sunday, the site felt like a well‑oiled machine: sweet‑smelling tents (finally), sunshine still holding strong, and a crowd ready to squeeze every last drop out of the final day.

Across the three days, Wychwood delivered exactly what a great festival should: discoveries worth bragging about, established names proving why they still matter, and those oddball moments, from toilet‑adjacent stages to singers hurling water into the crowd, that become part of the folklore. And as The Levellers brought the weekend home in a blaze of folk‑punk energy, it was hard not to feel that familiar pang: the one that says you’re tired, sunburnt, slightly dehydrated… and already thinking about next year.

Here’s how Wychwood Festival 2026 played out, one day at a time.

FRIDAY

Cheltenham Racecourse swapped horses for hedonism as Wychwood Festival 2026 burst into life under a warm May sun. Tents, flags and smiling faces stretched across the site — the perfect backdrop for a weekend of eclectic music and good‑natured chaos.

Local outfit The Callbirds opened the main stage with swagger to spare. Their 70s‑leaning lineup — sax, piano, the works — promised a rich sound, but muddy mixing meant only bass, drums and lead guitar cut through. Bags of attitude, but the full picture never quite landed.

Cornwall’s 3 Daft Monkeys lifted the energy instantly. Four members despite the name, but who’s counting when Athene Roberts is spinning across the stage with her fiddle, firing out a colourful fusion of world music, Celtic rhythms and gypsy‑tinged folk. Vibrant, joyful, and exactly what the early crowd needed.

A short wade through the festival masses led to the Garden Tent for Pebble Daisy, a Stroud three‑piece dealing in alternative rock and something they call bubble grunge. Whatever that means, it works — sharp, melodic and surprisingly polished. The only downside? The tent’s proximity to the toilets. Enough said.

The day’s biggest curveball came when Craig David pulled out of his headline slot, sparking rumours across the site. But Sophie Ellis‑Bextor stepped up and absolutely owned it. Hit after hit, flawless vocals, and a crowd dancing like their lives depended on it. She didn’t just save the night — she stole it. A proper Friday festival moment.

SATURDAY

Halfway through the weekend and Wychwood was only getting louder, rowdier and better.

The South brought a breezy run of familiar favourites, with Alison Wheeler’s vocals shining brightest on a glorious singalong of Rotterdam. A perfect warm‑up for what came next.

Birmingham’s The Twang arrived with grit, riffs and a reputation for rowdy crowds — though today was all good vibes. Phil Etheridge led the charge with swagger, delivering the kind of no‑nonsense indie rock set that festivals were built for.

Back in the Garden Tent, Pale Blue Eyes delivered one of the weekend’s standout performances. Their self‑described “modernist pop” shimmered with 80s guitar tones and swirling textures — fresh, exhilarating and beautifully executed. Even better, the toilets had finally been fixed. Small victories.

Then came The Pigeon Detectives, and chaos ensued. Matt Bowman hurled water into the crowd, sprinted across the stage, bantered relentlessly and repeatedly presented his backside to the audience for reasons known only to him. Loud, sweaty, unhinged — and absolutely brilliant.

Topping the day were Kaiser Chiefs, who proved once again why they’re one of the UK’s most reliable festival headliners. Ricky Wilson was a whirlwind of charisma as the band tore through Ruby, I Predict a Riot, Oh My God and more. A massive singalong, a massive crowd, a massive finish.

SUNDAY

The final day arrived far too soon, but Wychwood still had plenty left in the tank.

Dub Pistols kicked things off with a riotous blend of rock, reggae and rap, with Barry Ashworth leading a set that had the entire field bouncing. A proper Sunday wake‑up call.

Over in the now sweet‑smelling Garden Tent, Bristol’s Hunny Buzz charmed with their indie‑pop warmth. Lydia Read’s vocals floated effortlessly above jangly guitars — a band worth keeping tabs on in a city overflowing with talent.

Back on the main stage, Maxïmo Park delivered a high‑energy masterclass. Paul Smith leapt, spun and sprinted his way through a set stacked with hits from Our Velocity to Apply Some Pressure. The crowd matched him step for step.

And then, the moment everyone had been waiting for: The Levellers. Folk‑anarchy‑punk‑Celtic‑rock — whatever label you choose, they were electric. Mark Chadwick led the Brighton legends through What a Beautiful Day, Hope Street and a run of festival‑defining anthems. A perfect, emotional, high‑energy finale to a magical weekend.

As the final notes faded, thousands of weary but happy festival‑goers drifted back to their cars, already dreaming of next year — with The Human League teased as 2027’s Saturday headliners.

Until then: sleep well, Wychwood. You’ve earned it.

Words and Pics by Leigh Bruin

Behold, a new-minted summer jam – tart like a spritz, fresh as strawberries.

Surfing on a wave of jewel-bright synths and balmy positivity, Desperately Seeking Suki’s debut single ‘Suki’ is a red-hot blast of holiday torch song..

Who are they, then? Siblings Natassa Zoë and Danny Pugh. Natassa divides her time between Australia and the UK, has a deal with Fender in her day job as session guitarist for assorted cool acts (Hayley Mary from The Jezabels, GRAACE). She's also, get this, a hip filmmaker, with credits at festivals in Cannes, Berlin, New York, Toronto, and London.

Brother Danny is Bristol-based, where he performs as SIG SALI doling out emotionally resonant electro-indie. No slouch himself, Danny has royally ripped up stages at Glastonbury, and collabbed with Freddie off the Vaccines.

On this certified heater, Natassa’s popsicle-cool spoken word vocals glide sublimely over Danny’s deliciously off-kilter beats – and when that irresistible earworm chorus drops you just know this summer is set to be a scorcher.

Andy Hill

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Famous Strangers are a band built on instinct, chemistry, and the kind of shared musical obsession that starts in childhood bedrooms and jam rooms and never really lets go. Formed by four musicians who once felt like “famous strangers” to one another, the Edmonton heavy‑rock outfit have quickly carved out a sound that’s raw, dynamic, and emotionally charged — a blend shaped by lived experience, classic influences, and a creative process that hits like a sudden wave. With their latest release LSC pushing them into sharper, heavier, and more ambitious territory, the band step into 2025 with momentum, purpose, and a fire that shows no signs of slowing.

Who is answering the questions today?

Jeff: Jeff Kittlitz

Braden: Braden Sustrick

Beej: Brian Jolly

Amanda: Amanda Kiernan.

Together we are Famous Strangers

How did you get the band name and what does it mean to you?

Jeff: I came up with the name while driving, listening to ‘Perfect Strangers’ by Deep Purple. I pulled up at a red light and saw a donair shop called Famous Donair. It clicked. I thought, “Famous Strangers.” It reminded me of the band members themselves, people I’ve admired and wanted to play with, who all felt kind of famous to me, but we hadn’t played together yet. We were strangers, in a way. It just fit. Even now, it feels like it applies to everyone…the fans, the crowd, the people we meet. We’re all a little bit famous, and still kind of strangers too.

When did you realise that you wanted to do music full time?

Jeff: Since I was a baby. I was literally napping on jam room floors while my dad played music. In kindergarten, when they asked what I wanted to be when I grew up, I wrote “rockstar.” That dream never changed. Amanda: I had the same kind of story. In kindergarten, music was my favorite subject. I got my first acoustic guitar and fell in love with it. Then I joined The Order of Chaos at 17 or 18, played my first show, and that was it. I knew right away that this was all I ever wanted to do. Beej: I was just a little kid with a Fisher-Price drum strapped around my neck, banging on things and making noise. I knew even then. It was always music for me.

How did the idea for your latest release come about?

Amanda: The guys laid down some heavy riffs, and the lyrics just poured out. I was thinking about how bugs mate — like black widows and praying mantises — how they kill their partner after. I thought that was metal as hell. That concept became LSC. Beej: The idea just kind of exploded all of a sudden. Jeff: Yeah, it hit like a wave and all came together fast.

Can you tell us about the themes and influences that run throughout your music?

Jeff: For me, it’s all based on life. The music reflects what kind of day it is. If it’s a good day, maybe something upbeat comes out. If it’s heavy or dark, the music follows. Everything influences me — good or bad. Amanda: Same here. I grew up on the classics — Pink Floyd, The Doors, all that stuff. But the cool thing about this band is the freedom they give me to be fully creative. The stuff that resonates most with people usually comes from my own life experiences. I just try to write about real things, and it seems to connect. Beej: Yeah, you nailed it. It’s all about life, emotion, and how we filter that into the songs.

Who produced the release and what were they like to work with?

Jeff: We self-produced a lot of it, but we also worked with Phil Anderson. He helped us shape the sound. Joel Wanasek mixed it, and Maor Appelbaum mastered it. It was the first time we brought in an outside producer, and it really helped to have that outside ear. Sometimes we took their advice, sometimes we stuck to our guns, but it was a great process. Amanda: And doing parts of it ourselves — like vocals and guitars — that gave us a lot of flexibility and freedom. It’s nice not being on a strict schedule. Jeff: That said, you still need to set deadlines. Otherwise, it never ends.

How would you say the sound of your band has grown or changed over the last couple of years?

Jeff: We only officially launched about a year and a half ago, but already things have evolved a lot. At the beginning, some songs were already written and Amanda added lyrics. Now, we’re writing more organically as a band. Everyone’s voice is in it, and it feels more cohesive. It’s definitely maturing.

What do you want your latest release to do in representation of the band?

Amanda: I want people to feel fired up. Whether they’re at the gym or going through something hard, I hope this song gives them that extra push. Jeff: Sonically, I think LSC shows the kind of dynamic we’re aiming for — big choruses, moody verses, space for everyone to shine. It’s a strong direction for us. Amanda: And honestly, we barely remember writing it. Sometimes it’s like you black out and wake up with this song in your hands. LSC raised the bar for us. It made us all want to level up.

What else can we expect to see from the band in the future?

We’ve got lots coming. We played a cancer benefit show at Starlite Room in our home town in support of Cam Kroetsch’s (from Gravemass,) wife and we did a mini-tour in Alberta in November 25. We’re also deep into writing and recording new music this fall. Plus, keep an eye out for the official video for “Deepstar” ~ it’s gonna be a wild one.

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Los Angeles–based duo DiipSilence & Brianna Young are carving out a space where electronic experimentation, contemporary poetry, and fine art collide. Their latest release, Unus Mundus, is a deeply conceptual exploration of duality—drawing on Carl Jung, Chinese cosmology, and the fluid boundary between dream and reality. What began as an exchange of instrumentals and poems has evolved into a fully realised art‑pop collaboration, rich with tactile sound design, modular‑warped vocals, and philosophical intent. As they step into their first official release as a duo, they’re setting the foundation for a body of work that promises to push even further into the surreal, the psychological, and the sonically unexpected.

Who is answering the questions? – (Band member DiipSilence is answering the questions)

Hi Muso Muso, this is DiipSilence and BRIANNA YOUNG. We’re a duo based in Los Angeles. DiipSilence is a Chinese electronic music artist and producer, and BRIANNA YOUNG is a multidisciplinary artist working across both music and fine art.

How did you get to the band name, and what does it mean to you?

Right now we’re just rolling with a combo of our artist names—nothing too official yet. We’re planning to come up with an actual band name for the next release, LOL. “DiipSilence” means deep and silent—it’s the meaning of her original name. And BRIANNA YOUNG is, well, Brianna’s real name. Keeping it simple... for now.

When did you realise that you wanted to do music full time?

There wasn’t a single defining moment, but the shift happened gradually. I have a background in mathematics, and over time, I started seeing clear parallels between math, music, and technology—especially in areas like synthesis, rhythm, and structure. During summer breaks, I took DJ and music production courses, where I got hands-on experience with DAWs, mixing, and sound design. That really opened the door. I began my career as a mixing engineer, working with EQ, compression, and spatial processing, and eventually transitioned into composition and production as I got deeper into sound design and arrangement.

How did the idea for your latest release come about?

Unus Mundus is Latin for “One World”—a primordial unified reality where all opposites originate. The concept draws from Carl Jung and Chinese cosmology: ideas like synchronicity, light and dark, dream and reality, observer and observed—all seen as different expressions of the same underlying source. We wanted the track to feel like a sonic exploration of that duality, where everything is connected through an invisible thread.

Can you tell us about the themes and influences that run through out?

Psychologically, we were really inspired by Carl Jung’s ideas—especially the concept of the collective unconscious—and the yin-yang duality in Tai Chi. Those philosophies shaped the way we approached contrast and balance in the track. On the musical side, artists like Björk and Marina Herlop were big influences. We love how they blend organic textures with experimental structures, which definitely informed our sound design and composition style.

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?)

I (DiipSilence) produced the track. For me, everything starts with sound. I get a lot of inspiration from sound effects, foley, location audio, and field recordings—they’re always the starting point. The song opens with chopsticks foley: a subtle, tactile sound that sets a watery, dark, dreamlike mood. I ran Brianna’s vocals through modular synths to create eerie, otherworldly textures—almost like you’re hearing creatures from another universe. Brianna’s amazing to work with. She’s super intentional with her vocal delivery and always down to experiment. We recorded multiple sessions, and she also sent some takes remotely. The whole process felt like a sonic transformation game—constantly reshaping raw material into something surreal.

How would you say that the sound of the band has grown/changed over the last couple of years?

-- We’ve done three collaborative singles before—basically, I (DiipSilence) would send over instrumental tracks, and Brianna would respond by writing poems inspired by the music. It naturally evolved into this contemporary poetry + sound art duo. But with Unus Mundus, we wanted to go deeper. This time, we aimed to create a full art-pop / avant-garde music journey. It’s not just poetry and music anymore—it’s spoken word, singing, soundscapes, composition, and storytelling all fused together. Everything connects, just like the concept of Unus Mundus—one world where all elements are part of the same source.

What do you want your latest release to do for the representation of the band?

– This is our first official music collaboration as a duo, and we see it as the beginning of something bigger. We’re both really into Carl Jung, psychology, art—and obviously, music—so this release sets the tone for the kind of deeply conceptual and experimental work we want to keep creating. It’s a foundation, and from here, we’re diving into even more experimental territory. So yeah, stay tuned—this is just the start.

What else can we expect to see from the band in the future?

– We’re hoping to write more “lyrical” music—something a bit more vocal-driven while still keeping that experimental edge. And we’d love to start performing live. Translating our sound into a live experience is something we’re really excited to explore in 2025.

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Little King’s latest chapter begins not with a riff, but with a revelation. In this candid conversation, Ryan Rosoff — the band’s ever‑restless singer, guitarist, and creative engine — pulls back the curtain on Lente Viviente, a record shaped by family, memory, grit, and the shifting lenses through which he sees the world. Fresh from selling a business, founding another, and rebuilding Little King’s core lineup, Rosoff speaks with the clarity of someone who has lived a few lifetimes’ worth of stories and is finally free to turn them into art. What follows is a portrait of a musician embracing change, sharpening his craft, and chasing the kind of truth that only comes from decades of doing the work.

Who is answering the questions?

Good morning! This is Ryan Rosoff, singer and guitarist for Little King.

When did you realise that you wanted to do music full time?

Well…I think any true guitar addict wants to be using full-time. Seriously, when I first started plucking out Rush and Zeppelin songs on my bed at like age 15, it was a thought. Now, “full-time” has been a relative term throughout my career. Sometimes, oftentimes, I have had a career that supported my 3 kids and a couple X’s through all of the last 28 years. It’s been a lot. So, while touring around and sleeping in buses and motels is fun for a bit, I was never one to be away from my kids AND earning a paltry living. Duty to family first, even before my passion.

I sold my last business in January of 2024, and that has allowed me to focus on music much more substantially than at any time since about 2005. We released Virus Divine that year and had a little label deal that allowed me to breathe. But other than that period, it’s been Many Hats.

Last year, I did co-found another business. This one is called LIvingLens Memoirs, and I’ll tell you what that is and how it is directly tied into the new album…

How did the idea for your latest release come about?

I am an entrepreneur. That’s my identity almost as much as Dad, Son, Partner, and Musician. I live near my mom in Tucson, AZ, and when she turned 80, my son and I filmed her in an informal interview setting. I wanted something forever that would show who she really is! Video is the way to go, as the voice, hand gestures, laugh, facial expressions, etc. all give us so much more than just a photo or a journal.

The light bulb went off and I founded a company called LivingLens Memoirs. Basically, we interview folks who want to preserve their stories for their descendants in a way that is elegant, fun, tasteful, and professional. The idea took off, and so the stories that I am hearing on a weekly basis are front and center in my brain.

2025 was always gonna be the year for a new Little King record. When it came time to write the lyrics, I translated “Living Lens” into Spanish, and lo and behold, the phrase is “Lente Viviente.” Eureka! What a great album name and concept. Filters, perception, light and shadows, shifting lenses…all the themes that I explore on the new album. We are a product of our own perception, and it would behoove us all to remember that we are JUST ONE OPINION.

I see homelessness and addiction daily down at my studio in downtown Tucson. It’s GRITTY. I help take care of my mom (referenced above) and I also have a son who just went to college. I love to fish, have 50-year relationships with friends from my early childhood who I still talk to weekly, and I have a new domestic love who I adore and want to spend my time with.

THESE are my filters. So, what better thing to do than address them musically. That’s been my therapy since our first album back in 1997, and I must say, I am (mostly, kinda sorta) mentally healthy.

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?)

I write and produce all of Little King’s music and lyrics. Now, the musicians write their parts to songs that I have basically completed. Sometimes, structures change and things evolve, but mostly it’s my vision with a massive boost from incredible bandmates.

For the first time since 2019, we Little King has a new core. Eddy Garcia has played drums and engineered for Little King (both in the studio and live) since 2005. Manny Tejeda played bass on the last 2 albums and a single (“Silver Tongue” in 2023). These guys are 2 of my dearest friends…I love them both like brothers. But since I am firmly in Tucson and those guys aren’t, I wanted to change things up.

Dave Hamilton is the bassist on this record, and he also plays cello on “Sweet Jessie James” and “Pass Through Filters.” Dave wrote string arrangements for our last 2 albums, Occam’s Foil (2019) and Amuse De Q (2021). He has also toured with us, and he and I just get along fabulously. Personally, musically, karmically (haha)...Dave and I are on the same page. (He’s also the best bass player on the planet. Argue with a wall.)

As I was writing the songs, I called Dave and asked him to move from cello to bass for Lente Viviente. He was eager and excited, and so we started jamming and recording demos in late-2024. But for this album, I wanted to find a badass local drummer. In walks Tony Bojorquez, the musical gypsy and a sometimes-resident of Tucson. He has family here and goes back and forth between Tucson and San Carlos, MX. He has done everything from professional busking in NYC subways to playing Red Rocks, and he lends such a technical AND groovy feel to the new record.

Producing is what I do…engineering is NOT. So, I linked up with Ricky Wascher here in Tucson at Cimamusic. We are almost exactly the same age, and that is always a bonus as you have the same music, movie, tv, current events, and pop culture references in common. We recorded with him from April to June of 2025 in phases. Drums first, then rhythm guitars and bass, then finally vocals and odd bits. Laura Sadie Bette also contributes brilliant vocals on “Kindness for Weakness” and “The Living Lens.”

When we finished tracking, the songs flew to LA and we mixed with Daniel Salcido at Command Space Audio in downtown LA. Daniel mixed the last record and two singles for LIttle King. We have a great friendship, too, so it’s always a pleasure to go out there and hang for a few days. We busted ass and I think the results show that the work was put in! Finally, we mastered with the legend Maor Appelbaum. Maor is THE MAN and put that last 10% of icing on the cake.

How would you say that the sound of the band has grown/changed over the last couple of years?

For Lente Viviente, we rehearsed more than ever before prior to tracking. Tony and I, in particular, were diligent for about 2 months of jamming and working parts out. That’s grinding through tempos and time signatures, which are subtle but definitely present throughout this record. Dave came to Tucson from El Paso a few times to jam as well, so by the time the red light went on at Ricky’s studio, we were ready. Vocally, in particular, I think…I worked really hard.

Because we spent so much time in the collective woodshed, the album sounds tighter and more focused than anything we’ve ever done. In addition, the parts groove because the players are groovy! Seriously, there’s a swing and funk to some songs that really bring out a different side of the arrangements. In particular, Dave and Tony’s playing throughout “Dawn Villa” and “Pass Through FIlters” take Little King in a totally different direction…which is EXACTLY what I am looking for! I mean, I sound like ME. They make US sound like US. Make sense?

What do you want your latest release to do for the representation of the band?

As always with Little King, I want our listeners to come away with an appreciation for the craft, a pause to consider the lyrical sentiments, and a real desire to hit repeat. I believe with everything I am that this is our best work, and I think the band agrees. I know they do, actually. Dave was just saying it this morning in our group chat.

Can you dive deeper? What are you looking for in your listening experience? We may actually have an album that can, in under 30 minutes, make a difference in how you see (and hear) the world. If I can motivate down that road, I’m beyond satisfied.

What else can we expect to see from the band in the future?

We will play shows! I am thinking southwest in the late-Fall, then a full host of shows and festival dates (hoping for Europe, too) in the Spring and Summer of 2026. I just started rehearsing my parts on Monday, and I’m awful again. Dammit. So I need a full month of grinding to play these songs and sing them at the same time in a way we can be proud of. Getting there, for sure, but I have high standards and expectations of myself and our band, and we won’t go out and half-ass it!

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"Amuse De Q" by Little King (from the album Amuse De Q)

The Purple Helmets return with a renewed spark and a lifetime of stories, led here by vocalist‑guitarist Jon Kini, who reflects on the band’s unlikely origins, their evolution, and the creative fire behind their new album Weirdo Squad. Born from a tongue‑in‑cheek high‑school joke that somehow stuck, the band grew into a beloved force across Nova Scotia’s indie scene before life pulled its members into the world of “real jobs.” Now, older, sharper, and writing with a deeper sense of purpose, the trio have crafted a record shaped by three distinct voices, rich harmonies, and a matured perspective on the chaos, pressures, and beauty of modern life. With fresh energy, a new label home, and a desire to simply make great songs that endure, The Purple Helmets are stepping confidently into their next chapter.

Who is answering the questions?

This is Jon Kini from The Purple Helmets where I am one of three vocalists and I play guitar.

How did you get to the band name, and what does it mean to you?

Well, the name was kind of a lark or a bit of a joke. We came up with it when we were in high school where we entered ourselves into a school music event. I think we thought we were being smart and a bit punk as the school would announce our name in front of the student body. Rather juvenile really but we were 15 to 17 years old. However, people really liked the music and what we were doing. We started playing more shows and rigging more original music. We eventually moved to Halifax, the capital of Nova Scotia (NS) and played regular circuits throughout the NS and the nearby Provinces. By that time the name had stuck and while we did receive some pushback from various venues it really was too late to change. Punk all the way!!

When did you realise that you wanted to do music full time?

I feel when we were all younger and just turning heads in the industry in Nova Scotia, Canada we all thought this might be something we could do full time. We were signed to EMI but in the end things didn’t quite work out how we had hoped. The band moved on from that and eventually really moved on with everyone getting “real” jobs. Now, we are excited to be making music again but from a different perspective and with different goals. We still just want to make great music.

How did the idea for your latest release come about?

It started after having watched a band made up of our friends, Burnt Black, come out with new music after a lengthy hiatus. It kind of rekindled the collective interest in writing again and so we started down that road. We wrote about 30 new songs and picked what we felt were the best 10 songs, all legitimate singles, to become our latest album Weirdo Squad. It offered us an opportunity to write again but with a more mature perspective on life and reaching into our individual experiences to really drive and guide this album.

Can you tell us about the themes and influences that run throughout?

Our band has three active writers and composers namely Chris our bass player, Don our guitar player and myself. All three of us also trade off quite equally on vocals as leads and contributing with harmonies. So you really are seeing three perspectives and varying writing styles and themes throughout the album. Chris’s song Lets Blaze a New Path Forward is about embracing the unpredictable currents of life’s journey, daring to be brave in the face of critical voices, and refusing to conform to expectations. The narrative speaks of rising from humble beginnings, fueled by the courage to express innovative ideas and inventions that enrich the world. Ultimately, the song beautifully articulates that the true reward lies not just in the destination, but in the transformative experience of the journey itself. Whereas one of my songs, Escape From Which Mountain? is a song that reflects the demands, expectations and pressures society has placed on our youth and young adults through social media influences and how many "likes" one must achieve for acceptance. It delves into the struggles with confidence, fitting in and conforming to presumed societal norms. And while there may be supports around you, one needs to experience the struggles to transform and finally realize a metamorphosis to freedom.

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?)

Paul Suarez recorded and co-produced the album at Ironshores Studios in the Cayman Islands. What can you say about Paul? The protege of the infamous producer Andy Wallace (he recorded everybody!) Paul brought that learned experience plus his own ear and genius to the mix. Paul engineered and recorded Korn, Biffy Clyro, Dave Mathews, Gojira, and even Guns and Roses. While his portfolio clearly leans to heavy rock, his process fattened our sound and added a professionally fidelity we hadn’t necessarily encountered before as an Indie rock band. Paul was really great to work with and really helped to bring out the best in our songs.

How would you say that the sound of the band has grown/changed over the last couple of years?

The backbone of our sound has and continues to be guitar based however the vocal melodies and harmonies are the centerpiece. I don’t think we have deviated from that formula over the years, but we have evolved in our songwriting and improved upon our sound overall. The only real difference is a little more use of synth on our latest album. It’s something we added for this album to create a little more atmosphere, but it’s not overdone or overly highlighted in the songs.

What do you want your latest release to do for the representation of the band?

I guess we just want listeners to enjoy well crafted and performed songs. We really do feel we have a strong album, with different styles, themes mixed with solid compositions. We want to highlight our strong vocals and harmonies, where often we are belting out smart, 3-piece harmonies wrapped around attractive and addictive melodies and all of that being driven by guitars and a solid bass and drums foundation. Ultimately, our goal is to simply create an attractive indie tune that stands the test of time. Some listeners have referred to our sound as Americana Big Star meets UK Badfinger but to us it’s just Canadiana and in the end, a good song never goes out of style.

What else can we expect to see from the band in the future?

We recently signed a deal with Sodeh Records from Montreal Canada. Sodeh is a boutique label with bands from all over the world, crossing many styles and genres of music. A really cool label to be part of at this moment. We’re looking to promote the new album, really expose it far and wide and gain more admirers of the band and our music. We would like to tag on to a few festivals in Canada, the US and Europe obviously to perform but to also be fans.

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Venice Revive is the deeply personal solo project of Omer Cohen, born from a moment of global stillness and a desire to see the world — and himself — heal. Named after the surreal sight of dolphins returning to Venice’s empty canals during lockdown, the project blends Cohen’s vegan ethos, emotional honesty, and a drive to translate real-life experiences into powerful, modern metal. His latest release is shaped by the loss of his father, channelling grief, reflection, and resilience into a symphonic, evolving sound crafted alongside producer Yam Levi. With new singles and a full-length album on the horizon, Venice Revive is a project pushing forward with purpose and heart.

Who is answering the questions?

Hey, name's Omer Cohen, Venice Revive is my solo project.

How did you get to the band name, and what does it mean to you?

During the Covid-19 pandemic, lockdowns kept everyone at home. While there were no cars on roads, Venice had no gondolas in their canals – Dolphins were sighted swimming there! Knew that had to be the name. I'm vegan, so a name with a connection to nature healing had to be it.

When did you realise that you wanted to do music full time?

When I realized the riffs I wrote at home for fun became full songs – and good ones too! How did the idea for your latest release come about? - Well, I lost my dad. The entire albums describes about how I dealt with it.

Can you tell us about the themes and influences that run through out?

When I listen to music, I like to try and understand the lyrics and the meaning behind them and the emotions the instrumentalists were trying to convey with their riffs. That's also what I try to do with Venice Revive.

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?)

Their name is Yam Levi, they're the guitarist of the band 'Revision the Dream'. Super professional with great taste and ideas on how to make the songs perfect, highly recommend working with them.

How would you say that your sound has grown/changed over the last couple of years?

I only released one album, but I always try to make changes and evolve, the next album is going to be even more symphonic, and I always work on making my songs sound more modern.

What do you want your latest release to do for the representation of your music?

As with everyone else, I just want as many people as possible listening to my music. Hope to reach as far as I can with it.

What else can we expect to see from the band in the future?

I’m working on a couple of singles to release before the next full-length album, hopefully they'll drop soon!

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Anders L. Rasmussen is an artist who has spent years carving out his own lane, balancing the realities of working life with an unwavering pull toward songwriting that began in his early teens. After a long stretch in hard‑rock territory, his latest material marks a deliberate change of pace — a more reflective, hopeful body of work shaped by a desire to explore human struggle without losing sight of the light that cuts through it. Self‑produced, unhurried, and deeply personal, these new songs reveal an artist widening his creative lens and embracing a gentler, more emotionally open sound as he looks ahead to a run of singles and a full album later this year.

Who is answering the questions?

Anders L. Rasmussen

When did you realise that you wanted to do music full time?

I’m not doing this 100%. I also have a job I go to (which provides the income I need). It’s a well-known fact that we musicians don’t exactly get rich from this. That said, I’ve had a strong desire to play and release music since I was around 12 or 13 years old. My first release came a few years later. So I started pursuing my dreams at an early age.

How did the idea for your latest release come about?

After many years of playing hard rock, I wanted to release songs with a completely different expression. I had a need to do something else. Some of the songs are 10–12 years old, while the rest were written over the past two to

three years.

Can you tell us about the themes and influences that run throughout?

In short, I wanted to write about something more positive compared to the often dark and heavy themes found in typical metal lyrics. These new songs explore the human struggle in life—but also the hopes and dreams that still remain.

Who produced the release, and what were they like to work with (If you produced it yourself, then

what do you love the most about working that way?)

By producing everything myself, I’ve had full control and a clear overview of the entire process. That comes with both advantages and drawbacks. Since this is a small solo project, I’ve simply enjoyed working on it alone—no

deadlines, no pressure, just me and the songs, whenever I’ve felt like working on them.

How would you say that your sound has grown/changed over the last couple of years?

Still early days. We will see the coming years. I’d probably go even more mellow on the sound and sparse with the use of instruments.

What do you want your latest release to do for the representation of yourself?

I want this release to show a broader side of what the I am capable of—both musically and emotionally. It’s important for me that people see there’s more depth and variation to my sound than just sticking to one formula. Hopefully, it gives a clearer picture of who I am creatively and where I am headed.

Finally, what else can we expect to see from the you in the future?

More single releases in the fall and my album ‘Everyday Hero’ in November.

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Violet Grohl’s debut album Be Sweet To Me arrives with the kind of confidence, personality and sonic identity that many artists spend years trying to locate. What’s immediately clear is that Violet isn’t trading on anyone else’s legacy, she’s building her own. Across eleven sharp, tightly‑written tracks, she proves herself a songwriter with instinct, imagination and a real command of alternative rock’s emotional and textural palette.

Recorded between late 2024 and early 2025 with producer Justin Raisen (Kim Gordon, Charli XCX) and a hand‑picked crew of session players assembled in the spirit of the Wrecking Crew, the album feels alive, warm, analogue, impulsive, and full of character. It’s a record that moves fast, hits hard, and rewards repeat listens.

Violet’s lifelong love of late‑’80s and early‑’90s alternative music, Pixies, Cocteau Twins, The Breeders, PJ Harvey, L7, Björk, Soundgarden, pulses through the album, but never in a derivative way. Instead, she channels that era’s rawness and authenticity into something modern, melodic and distinctly her own.

Her songwriting leans impressionistic, often cinematic, shaped by her fascination with David Lynch and the surreal. The result is a debut that feels both familiar and dreamlike, a hazy, neon‑lit world where crunchy guitars, slacker‑poetic lyrics and sudden emotional jolts coexist beautifully.

The album bursts open with THUM, a fuzzy, fast‑paced blend of melody and grit that immediately sets the tone for what Violet is capable of. Its crunchy guitars nod to the alternative heyday of the early ’90s, but the delivery feels fresh, sharp and unmistakably hers. That momentum briefly softens with 595, a deceptively pared‑back moment that offers a breather, until it suddenly erupts halfway through, proving Violet has a knack for dynamic surprises. Bug In The Cake keeps the energy high with squealing guitars and a slacker‑rock looseness, its lyrics inspired by the paranormal quirks of her grandmother’s old house. It’s lively, weird, and wonderfully characterful.

The emotional core of the record deepens with Last Day I Loved You, a track that begins with a downbeat, almost plodding rhythm before its guitars bloom into something far more cathartic. It feels like a message to a past partner, but Violet keeps it impressionistic enough to let listeners project their own stories. Mobile Stars shifts into a more theatrical, tender space, a beautifully controlled slow‑burn that constantly threatens to erupt but never does, creating a tension that’s quietly gripping. That restraint is shattered by Often Others, a fuzz‑heavy, gutsy blast of energy that feels tailor‑made for the live pit. It’s punchy, confident and destined to become a fan favourite.

The final stretch of the album showcases Violet’s range. Applefish begins with soft, tender vocals before the guitars roar to life in dramatic fashion, while Cool Buzz stands out as one of the album’s most infectious moments, all bouncy basslines, spiky guitars and off‑kilter riffs that let the rhythm section shine. Closing track Plastic Couch, the album’s longest at 4:30, starts acoustically and patiently before exploding at the three‑minute mark, ending the record with a sense of release and arrival. It’s a finale that feels earned, a final reminder that Violet Grohl has crafted a debut full of personality, craft and emotional punch.

One of the album’s most striking qualities is its pace. Nine of the eleven tracks clock in under three minutes, making Be Sweet To Me one of the most radio‑friendly alternative debuts in recent memory. But brevity never means simplicity, each track is packed with detail, texture and emotional nuance.

The record moves like a roller coaster, the highs are thrilling, noisy, and full of adrenaline whilst the lows are warm, soothing, and introspective. It never lets you settle. Just when you think you know where it’s going, it throws you into a triple corkscrew of fuzz, melody and feeling. On a second listen, new layers emerge, background harmonies, guitar flourishes, lyrical turns you missed the first time. It’s an album that rewards attention, and one that deserves it.

Be Sweet To Me is a debut that announces Violet Grohl as an artist with her own voice, her own vision, and her own lane. It’s raw, melodic, cinematic, and bursting with personality, a record made with heart, craft and intention.

Find a quiet place, put on some good headphones, and let it take you for a ride.

Be Sweet to Me is out NOW on Auroura Records / Republic Records

More than four decades after they first rewired the sound of the North West, Inspiral Carpets are stepping back into the light with Burn Like The Sun, their first studio album in 12 years, arriving 29 January 2027 via Scruff of the Neck Records. It’s a record shaped not by nostalgia, but by survival, renewal and the stubborn creative spark that’s kept the band moving through triumph, tragedy and cultural shifts that would have flattened lesser groups.

The album’s reveal came with a surprise: a specially narrated announcement video voiced by Professor Brian Cox, a figure whose connection to the band runs deeper than a celebrity cameo. Cox and the Inspirals emerged from the same Oldham orbit in the late ’80s, sharing rehearsal rooms, local stages and a fascination with the Apollo era that seeped into the band’s DNA.

Inspiral Carpets’ 1994 single ‘Saturn 5’ has long been a personal touchstone for Cox and his family, and the band’s relationship with the space community famously led NASA to invite them to film the track’s video at the Johnson Space Center in Houston. Three decades later, Cox’s voice re‑enters the Inspirals’ universe, a neat, emotional loop in a story already rich with cosmic symbolism.

The first single, ‘Drag The Bag’, produced by Jagz Kooner (Primal Scream, Oasis, Kasabian), landed last week and immediately felt like a statement of intent. It’s urgent, melodic and unmistakably Inspiral Carpets, but with a modern edge that avoids the trap of retromania. It’s the sound of a band who know exactly who they are, but refuse to be frozen in time.

LISTEN HERE

Recorded at Blueprint Studios in Manchester, Burn Like The Sun arrives 43 years into the band’s story, a point where most acts either coast on legacy or quietly fade out. Instead, Inspiral Carpets have made a record that confronts the past without being defined by it.

The death of drummer Craig Gill in 2016 cast a long shadow over the band’s future. The years that followed were marked by grief, uncertainty and long stretches where it wasn’t clear whether Inspiral Carpets would ever make another album. When writing finally resumed, it wasn’t out of obligation, it was out of necessity.

The result is a collection shaped by endurance, connection and the desire to keep moving. Themes of truth, responsibility, grief, love, hope and perseverance run through the songs, anchored by the album’s title, a phrase that became the project’s guiding identity early on. Light, darkness, distance, rebirth: Burn Like The Sun is an album about continuing the journey, not returning to a previous moment.

The band’s partnership with Scruff of the Neck Records, announced onstage at their sold‑out Manchester Albert Hall show in 2025, feels like a passing of the torch between generations of the city’s independent spirit. Built in Manchester, recorded in Manchester, released by a Manchester label, the album is a reminder of the city’s enduring culture of reinvention.

Inspiral Carpets have outlasted scenes, eras, trends and expectations. They’ve been through the highs of the Madchester explosion, the quiet years, the reunions, the heartbreaks and the rebuilds. What makes Burn Like The Sun remarkable is that it doesn’t lean on any of that. It stands on its own, cohesive, vital, purposeful.

Inspiral Carpets are still here. Still evolving. Still burning.

Headline Shows
June
26th - The Live Rooms, CHESTER
27th - The Buttermarket, SHREWSBURY
28th - The Sugarmill, STOKE-ON-TRENT

July

2nd - Kidderminster Town Hall, KIDDERMINSTER
3rd - O2 Academy Oxford, OXFORD
5th - Tunbridge Wells Forum, TUNBRIDGE WELLS
23rd - The Piper, SAINT LEONARDS

August

21st - PJ Molloys, DUNFERMLINE
23rd - Tunnels, ABERDEEN
28th - Picturedrome, HOLMFIRTH

September

4th - Kanteena, LANCASTER
25th - Neuadd Ogwen, BETHESDA

Co-Headline Tour (with The Wonder Stuff)

October

1st - O2 City Hall, NEWCASTLE
2nd - O2 Victoria Warehouse, MANCHESTER
3rd - Octagon Centre, SHEFFIELD
8th - Brighton Dome, BRIGHTON
9th - O2 Academy, BOURNEMOUTH
10th - Dreamland, MARGATE
14th - Barrowland Ballroom, GLASGOW
15th - Great Hall, Cardiff Uni Students Union, CARDIFF
16th - O2 Academy, LEEDS
17th - O2 Academy, LEICESTER
22nd - Scarborough Spa, SCARBOROUGH
23rd - O2 Academy, BRISTOL
24th - University of East Anglia (LCR), NORWICH
29th - The Engine Shed, LINCOLN
30th - Wolverhampton Civic Hall, WOLVERHAMPTON
31st - Liverpool Olympia, LIVERPOOL

December

8th - O2 Academy Brixton, LONDON

Support Shows

November

14th - Winter Gardens (Olympia), BLACKPOOL (Supporting Happy Mondays)

Festival Appearances

July

4th - Guilfest, GUILDFORD
24th–26th - Blue Reef Festival, LINTON
25th - Tramlines Festival, SHEFFIELD

August

22nd - Rockore Festival, FIFE
29th - Camper Calling Festival, ALCESTER

September

5th - Musicfest Mainstage, UDDINGSTON

November

13th–15th - Shiiine On Weekender, MINEHEAD

Burn Like The Sun Tracklisting
1. Burn Like The Sun
2. Drag The Bag
3. Touching From A Distance Too Far
4. Meeting On The Hill
5. Truth Hurts
6. Wolf At The Door
7. Sacrifice
8. Contact
9. There's A Better Way
10. Us Alone
11. By Your Side

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Monkey Intrusion are a band who wear their story with the same unruly charm as their name — a name born from a hotel warning sign in Singapore and now proudly attached to a rock outfit blending prog‑metal muscle, classic‑rock heritage and a wild, free‑spirited creative streak. Speaking with singer‑guitarist Vincenzo Reina, it’s clear this is a group fuelled by craft, camaraderie and a shared hunger to push their sound further, whether they’re sculpting the sprawling, seven‑minute drama of Bad Love or tightening their live chemistry with every show. With new music in the works and a full album on the horizon, Monkey Intrusion are stepping confidently into their next chapter — and they’re bringing plenty of bite with them.

Who is answering the questions?

Thank you for the interview guys, I’m Vincenzo Reina one of the singers and guitarist of Monkey Intrusion

How did you get to the band name, and what does it mean to you?

Some years ago I was travelling in Singapore and in a hotel in the peninsula of Rasa Sentosa there was a warning on the window saying, ‘due to Monkey Intrusion please keep the balcony door locked’. At that time, we were just forming the new band and my bandmates Marco Plesnicar (bass) and Enrico Goti (voice and guitar) and I thought that Monkey Intrusion was a perfect name for the band, a rock’n’roll Monkey that unleashes the wild side of people’s mind.

When did you realise that you wanted to do music full time?

You know, for most independent bands it is not easy to earn enough money to support the life of all members and of their families. For some of us, after many years of doing other jobs, it was possible to dedicate our whole time to it. For me it was definitely one of the best decisions of my life.

How did the idea for your latest release come about?

The song ‘Bad Love’ of our Album ‘Pussycats and Monkeymen’ started with the music, written by Enrico Goti, our lead singer and guitarist. Marco Plensicar (bass) wrote the lyrics, as normally happens in our band. He is really very talented on lyrics. Marco Bertoli (drums) and I contributed to the rhythmical and musical arrangements and Sara Cova (voice), who joined recently the band, performed a great voice solo on the final part of the track.

Can you tell us about the themes and influences that run throughout?

Our influences are very diverse, coming from the background of the band members. Enrico and Marco Bertoli grew up with prog metal and grunge, Marco Plesnicar, Sara and me love hard rock and progressive from the 70’s and classic rock rom the 70’s and 80’s Led Zeppelin, Genesis, Pink Floyd, David Bowie, Peter Gabriel, Dire Straits as well as punk. In ‘Bad Love’ all this comes together. If you listen to the 7:19 long song you will realize it. That’s why it is perhaps the song we like the most.

Who produced the release, and what were they like to work with (If you produced it yourself, then what do you love the most about working that way?)

We recorded it in the Jork Studios in Dekani, one of the best studios in Slovenia, near Trieste our hometown. We entered in the recording studio thinking the song was ready, but Jadran Ogrin and Gabriel Ogrin, the owner of Jork Studios, helped us massively to bring the track to a higher level. Thus, the production is a cooperation between the band and the studio engineers.

How would you say that the sound of the band has grown/changed over the last couple of years?

The more you play together, most importantly live, the more you gain groove, precision and emotional tension. Three years ago, we changed also the drummer and his tight and more structured way of playing gave solidity to the band. We all try, day after day, to become better musicians and singers and from the feedback we receive from our most close fans and friends we are on the right track. Last but not least, with the newly gained band member Sara we can now harmonise three voices and for her, Enrico and me, it’s great to be able to combine three different vocal lines.

What do you want your latest release to do for the representation of the band?

We hope our audience can have strong emotions and enjoy a familiar and at the same time surprising sound and musical experience.

What else can we expect to see from the band in the future?

We are working on new tracks to be published in 2026 and we would like to record a new album, and of course playing live as much as possible.

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Few bands in British music occupy a space as singular, or as quietly influential, as The Durutti Column. For nearly five decades, Vini Reilly’s project has existed slightly out of time: pastoral when the world was abrasive, intimate when the world was loud, and defiantly emotional in an era that often prized detachment. Now, after more than 15 years away from the studio, The Durutti Column return with Renascent, a new album that feels less like a comeback and more like a gentle, glowing re‑emergence.

Released 31st July, Renascent arrives as a rare moment of alignment, a renewed spotlight on a band whose influence has quietly threaded its way through generations. In the past few years alone, their fingerprints have appeared everywhere from Frank Ocean and The Avalanches to Blood Orange, who sampled “Sing to Me” for last year’s single The Field. Even Harry Styles has publicly championed the band, citing them as a key influence on his 2026 album Kiss All the Time. Disco Occasionally.

That admiration has now manifested in a major moment: a special Meltdown Festival concert, For Vini: A Tribute to The Durutti Column, curated by Styles and taking place on 17th June. It’s a celebration of a catalogue that has shaped countless artists, often without fanfare.

Since their 1980 debut on Factory Records, The Durutti Column have stood apart. While post‑punk carved jagged lines through the UK underground, Reilly’s music drifted somewhere else entirely, melodic, romantic, introspective, and deeply human. Over the decades, the project has moved through chamber music, modern classical, ambient experimentation, dance textures and flamenco‑tinged pop, yet always sounded unmistakably like The Durutti Column.

Renascent continues that lineage while subtly reframing it. Built around the long‑standing trio of Vini Reilly, Bruce Mitchell and Keir Stewart, the album feels both reflective and newly energised. Its title, meaning “reborn”, captures the sense of something stirring again, not as nostalgia but as renewal.

Reilly has long described his process as instinctive, almost reactive: “Every single piece of music writes itself.” That philosophy runs through Renascent. Many recordings were captured quickly, sometimes in Reilly’s own kitchen, preserving the immediacy of a moment before it could be over‑worked. Mitchell recalls ideas being caught in single takes; Stewart emphasises the freedom of letting creativity happen rather than shaping it into something overly deliberate. The result is an album that feels intimate yet expansive, a record that breathes.

Tracks like ‘Time Present and Time Past’ move in cycles, forward‑looking but rooted in memory. ‘Vapour in a Matchbox’ distils fleeting inspiration into something quietly luminous. And the opening track ‘Liars’, built around Reilly repeating “I am sorry, I love you”, sets the emotional tone: vulnerable, empathetic, unguarded.

LISTEN / WATCH THE NEW TRACK ‘LIARS’ HERE 

One of the album’s most striking moments is ‘For Friends Everywhere’, a reimagining of 1980’s For Belgian Friends. Stewart’s orchestral rearrangement transforms a long‑loved live piece into something richer, weightier, and deeply reflective, a bridge between eras that feels entirely in the spirit of the band’s evolution.

Renascent is also one of the most collaborative Durutti albums to date. Manchester folktronica artist Caoilfhionn Rose lends vocals and piano to two standout tracks, including the hymn‑like ‘Sargasso Sea’, while contributions from Liz Rossi and Sam Morris add warmth and texture throughout.

There’s symbolism woven into the release too. Renascent carries a Factory Too catalogue number, created in collaboration with Oliver Wilson, continuing the legacy of Tony Wilson’s iconic label. Visually, the band reunite with original Factory designers Mark Holt and Hamish Muir (8vo), whose artwork mirrors the album’s balance of modernist clarity and emotional depth.

In recent years, The Durutti Column’s music has quietly resurfaced across television, gaming, and high fashion, a reminder that their work, once existing outside trends, now resonates with new audiences discovering it for the first time. Renascent captures that moment beautifully: not a revival, but a reawakening.

As Bruce Mitchell puts it, hearing the finished album felt “like a child that leaves home for a long time and then they return and you love them all the more all over again”.

After 46 years, The Durutti Column remain unpredictable, instinctive, and profoundly human. Renascent is a testament to that a record that doesn’t chase the past, but lets it breathe into the present.

The Durutti Column are, once again, Renascent.

The Durutti Column / Renascent Formats:

Digital

CD - with bonus track ‘All They See is Fire’

LMS1725758

Standard LP - yellow transparent vinyl

LMS1725759 / 5061017257592

Deluxe Version LP - alternative artwork / bottle green transparent vinyl 

LMS1725760 / 5061017257608

Special Boxed Edition LP - alternative artwork / heavyweight black vinyl / DVD / 4 art prints / poster / slipcase

LMS1725889 / 5061017258896

Cassette

LMS1725861

Rough Trade Exclusive LP - split purple / green LP with bonus flexi disc of ‘All They See is Fire’

LMS1725890

Tracklisting:

1. Echoes In The Memory

2. Your Shadow At Morning

3. Time Present And Time Past

4. Agonistes

5. Liars

6. Vapour In A Matchbox

7. Your Shadow At Evening

8. Sargasso Sea

9. Scammer

10. For Friends Everywhere

11. All They See Is Fire (CD / digital bonus track)

PRE-ORDER / PRE-SAVE THE ALBUM HERE 

FOR MORE INFORMATION

Web: https://londonrecords.co.uk/

Facebook: https://www.facebook.com/groups/58125881422/

Instagram: https://www.instagram.com/thedurutticolumnofficial/

TikTok: https://www.tiktok.com/@the.durutti.column

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Twin Atlantic return with a renewed sense of purpose on their brand‑new single ‘Don’t Quit It’, a widescreen alt‑pop anthem that marks the beginning of their new partnership with independent label Dance To The Radio. It’s a track that feels instantly alive, bold, melodic and bursting with the kind of energy that has long defined the Scottish band’s most triumphant moments.

LISTEN HERE

‘Don’t Quit It’ finds Twin Atlantic leaning into instinct and joy, with frontman Sam McTrusty channelling a spirit of perseverance and emotional honesty. Written as a reflection on the things we cling to, even when they hurt, frustrate or challenge us, the song celebrates the messy, beautiful persistence that keeps us moving forward. McTrusty describes it as a moment of letting go, embracing fun and refusing to hide behind pretense, and that ethos pulses through every beat of the track.

There’s also a proud nod to the Scotland national football team woven into the song’s DNA. As the squad prepares for their World Cup journey in the USA, ‘Don’t Quit It’ stands as an unofficial tribute, not a chant or a cliché, but a soundtrack to belief, resilience and collective spirit. It’s easy to imagine this one echoing through fan zones and festival fields all summer long.

Sonically, the track carries a sleek, Daft Punk‑tinged edge, blending shimmering electronics with the emotional weight and anthemic lift that have always been central to Twin Atlantic’s sound. What makes this release even more significant is the reunion of all four original members, Sam McTrusty, Ross McNae, Barry McKenna and Craig Kneale, appearing together on a track for the first time in three albums. Their chemistry is unmistakable, adding a spark that long‑time fans will immediately recognise.

Across their career, Twin Atlantic have carved out a reputation for emotionally charged songwriting and ambitious, arena‑ready choruses. Their evolution has been shaped by a wide palette of influences, from the raw alt‑rock intensity of Nirvana to the melodic sophistication of The Cure and the modern dynamism of Muse. ‘Don’t Quit It’ captures that evolution in full flight, merging their experimental streak with the heartfelt, hook‑driven songwriting that first put them on the map.

With more new music on the horizon, this single feels like the opening statement of a bold new chapter, one that proves Twin Atlantic can evolve without losing the heart, volume and melodic punch that make them unmistakably themselves.

Live Dates

June

9 — Stirling, Albert Halls (Headline)

10 — Edinburgh, La Belle Angele (Headline)

11 — Aberdeen, Beach Ballroom (Headline)

14 — Lincoln, Lincoln Castle (with McFly)

17 — Thetford, Forest (with McFly)

21 — Delamere, Forest (with McFly)

23 — Halifax, Piece Hall (with McFly)

24 — Halifax, Piece Hall (with McFly)

25 — Cardiff, Castle (with McFly)

28 — Cannock Chase, Forest (with McFly)

August

27 — Glasgow, Queen’s Park (with McFly)

29 — Chelmsford, Central Park (with McFly)

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Luna Rosa don’t return, they ascend and with their new single ‘Lift Me Up’, landing 12 June, the Corby quartet deliver their most widescreen, heart‑swelling moment yet.

The band’s trademark intensity has always simmered with purpose, but ‘Lift Me Up’ reframes that fire into something brighter, bolder and beautifully human. Born from a sleepless night and a sunrise epiphany, the track pivots on a single request from frontman Rory McDade’s young niece: “Lift me up so I can see the sun”.

In that instant, the weight of the world cracked open. What followed was a song that captures the moment darkness gives way to light, not in grand gestures, but in the small, cosmic truths we stumble upon when we least expect them. McDade’s reflection, “In my darkest day she provided the light”, becomes the emotional spine of the track, a reminder that clarity often arrives in the simplest of voices.

Where earlier Luna Rosa releases wrestled with unrest and inner turbulence, ‘Lift Me Up’ channels that same raw force into something universal. It’s a song about connection, belief, and the shared human desire to rise above the static.

McDade’s lyric, “Your eyes of stardust map a cosmic love”, feels like a flare fired into the night sky, binding love, life and the universe into one shimmering thread. This is Luna Rosa at their most expansive, yet their most intimate.

Recorded at Magic Garden Studio with renowned producer Gavin Monaghan, the track balances atmospheric restraint with a soaring, festival‑ready lift. Fans of Fontaines DC, The Walkmen, Doves, Arcade Fire, Foals and The Maccabees will find familiar echoes, but Luna Rosa carve their own path, blending tenderness with a widescreen, sky‑punching euphoria.

Already a crowd favourite, ‘Lift Me Up’ is primed to become a summer anthem as the band hit festival stages alongside The Charlatans and The Bluetones. Expect arms aloft, choruses belted skyward, and that unmistakable Luna Rosa electricity.

‘Lift Me Up’ is a moment of release, a reminder that joy is something we can choose, and a rallying cry for anyone who needs a hand reaching toward the light.

It’s Luna Rosa stepping into a new era, and inviting you to rise with them.

At Lightroom, King’s Cross, six photographers who helped define David Bowie’s visual mythology reunited to tell the stories behind the images that shaped a generation. What unfolded was part masterclass, part confession, and part séance — a rare night where the people behind the lens finally stepped into the light.

Bowie Nights: Behind the Lens — hosted by journalist and author Miranda Sawyer — brought together Geoff MacCormack, Kevin Cummins, Richard Young, Denis O’Regan, Tony McGee and Chris Duffy, each responsible for some of the most recognisable Bowie imagery ever created.

Across decades, continents, personas and haircuts, these photographers weren’t just documenting a star — they were helping him build the visual language that made Bowie Bowie. And last night, they finally compared notes.

Chris Duffy — son of the legendary Brian Duffy and guardian of the Ziggy, Aladdin Sane and Scary Monsters archives — summed up the collective experience in one line:

“You put a camera in front of him and he just took off.”

Bowie understood the camera better than most photographers. He knew what an image could do, how it could travel, and how it could shape a narrative long after the shutter clicked.

Denis O’Regan recalled Bowie casually planning future usage mid‑shoot:

“He’d say ‘we’ll keep this one for the book’, or ‘this could be used for the press’.”

Richard Young, who captured Bowie during the Thin White Duke era, brought along a stark, intimate image from Bowie’s 1980 run in The Elephant Man — a reminder that his artistry extended far beyond the studio and stage.

Denis O’Regan, Bowie’s official tour photographer, shared a story that cut through the mystique: Bowie, global icon, stuck in a tuk‑tuk with exhaust fumes blasting directly into his face. O’Regan laughed:

“The thing that people didn’t realise about him was just how normal and sweet he was.”

Geoff MacCormack — Bowie’s childhood friend and travel companion from 1973–76, offered one of the night’s most revealing insights.

He showed a photo of Bowie writing lyrics for Station to Station at Cherokee Studios in LA, explaining:

“He lived it and wrote it as he was living it… this was new territory.”

MacCormack drew a line from that album straight into the Berlin era — a creative pivot point captured not in a studio diary, but in a candid moment between friends.

Tony McGee, who worked with Bowie for over 30 years, shared a wonderfully odd detail: a portrait of Bowie grinning beside a radio, tuned not to music, but to the BBC World Service Shipping Forecast. Strong gusts near Orkney. Bowie in hysterics. It’s a reminder that behind the icon was a man who found joy in the mundane — and who loved a joke as much as a perfectly lit frame.

Chris Duffy also broke down the technical wizardry behind the Aladdin Sane cover — tungsten light, long exposure, and a technique borrowed from the 1960s. Hearing the process described by someone who was there felt like watching a magician reveal a trick that somehow becomes more magical once you know how it works.

Behind the Lens is part of Lightroom’s wider Bowie Nights season, running May–September 2026 and tied to the immersive production David Bowie: You’re Not Alone.

The show, created by Mark Grimmer and Tom Wexler, pulls from thousands of hours of archive footage, reconfiguring Bowie’s performances using Lightroom’s spatial audio system designed by Gareth Fry. It’s authorised by the Bowie Estate, and early audiences have described it as the closest thing to time travel they’ve ever experienced.

Buy ‘Bowie Nights’ tickets here

Buy ‘David Bowie: You’re Not Alone’ tickets here

For one evening, the people who helped shape Bowie’s visual identity weren’t hidden behind their cameras, they were storytellers, historians, and custodians of a legacy that continues to evolve. They showed Bowie as a collaborator, a friend, a joker, a workaholic, a visionary, and a man who understood the power of an image better than anyone else in pop history and in doing so, they reminded us why we’re still talking about him, and still trying to capture him, long after the flashbulbs faded.

Becky Hill has never been one to play it safe. Across a decade of chart domination, festival takeovers and club‑floor anthems, she’s carved out a lane entirely her own, equal parts underground credibility and mainstream firepower. But her third album, ‘REBECCA’, landing September 25th via Polydor, feels like the moment she stops running at the pace the industry demands and starts moving at the pace she chooses.

And if the new single ‘More! More! More!’ is anything to go by, that pace is frantic, fearless and absolutely feral.

‘More! More! More!’, premiered as Radio 1’s Hottest Record, is Becky at her most unfiltered. Built on serrated electronic production and songwriting sharp enough to draw blood, it’s a track that captures the chaos of a decade spent in the spotlight. Not the glamorous bits, the grind, the pressure, the self‑inflicted expectation to keep delivering, keep performing, keep being “on”.

It’s satire, but it’s also confession. Becky calls it “the push and pull of never being happy… doing too much but it never feeling enough.” It’s the kind of honesty that hits harder because it’s delivered with a wink, a smirk and a bassline that could level a festival tent.

The video, directed by Joseph Delaney, doubles down on the intensity. Shot through a body‑cam lens that never lets you escape her emotional extremes, it follows Becky through a 24‑hour loop of boardrooms, glam chairs, choreography and creeping paranoia. She collapses into bed at 5:30am, wakes at 10am, and does it all again. It’s claustrophobic, clever and painfully relatable for anyone who’s ever felt like life is happening at them rather than with them.

The album itself is Becky’s most personal and creatively liberated work yet. Written during a period of deep reflection, it digs into ambition, identity, visibility and the contradictions of a life lived loudly in public.

She calls it “curated chaos”, and that feels right. This is Becky reconnecting with the sounds that shaped her — guitar music, alternative textures, heavy electro, euphoric electronics, and smashing them together with the dance and DnB DNA that’s always been her signature.

It’s bold. It’s emotionally charged. It’s unpredictable in all the right ways, and crucially, it’s Becky refusing to dilute herself for anyone.

“I’ve always wanted to be the people’s artist”, she says. “But that doesn’t mean having to please everybody all the time”

If you’ve seen Becky Hill live, you already know: she’s a powerhouse. Glastonbury, Reading & Leeds, Parklife, Creamfields — she doesn’t just turn up, she takes over. Her first UK & Ireland arena tour sold out, and this summer she’s back on the road with a run of outdoor shows and festival headline slots.

For South West readers, the big one is June 20th at the Eden Project — a venue that suits her scale and emotional punch perfectly.

Summer 2026 dates include:

• Cornwall – Eden Project (June 20)

• Cannock Chase Forest (June 26)

• York Racecourse (June 27)

• Hitchin Priory (July 24)

• Together Again Festival – Headliner (July 25)

• Bristol – Clifton Downs (August 2)

• Canterbury – St. Lawrence Ground (August 8)

• Poznan – BitterSweet Festival (August 13)

• Borde Hill (August 15)

• Colchester – Castle Park (August 22)

• Creamfields – Cheshire (August 30)

‘REBECCA’ is a reclamation. A reminder that behind the hits, the headlines and the high‑octane performances is a woman navigating the same contradictions, anxieties and ambitions as the rest of us, but unlike most of us, she’s turning that chaos into something euphoric. With her powerhouse vocals, razor‑edged songwriting and a renewed sense of creative ownership, Becky Hill is stepping into a new era, one that feels bigger, braver and more honest than anything she’s done before.

And if this is the sound of Becky Hill finally becoming Rebecca? We’re absolutely here for it.

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The Lemonheads are officially in comeback mode, and the UK is getting the lion’s share of the celebration. Fresh off the release of their acclaimed 2025 album Love Chant, Evan Dando and his ever‑evolving cast of collaborators have expanded their 2026 European tour with eight new UK dates, bringing the total to a hefty 17 shows across the country.

For a band whose mythology is built on movement, reinvention, collapse, resurrection, repeat, this run feels less like a tour and more like a reconnection. A reminder of why Dando’s songwriting still resonates across generations, and why the UK has always felt like a second home for The Lemonheads.

The new dates kick off at Stroud’s Subscription Rooms on 20th September, before winding through Southampton, Oxford, Cambridge, Margate, Northampton, Nottingham, and of course, the Torquay Arena show on 27th September, which we’ll be covering on musomuso.com.

“Touring is a huge part of my existence… playing in the UK makes me extra happy. You’ve always made me feel so welcome.” - Evan Dando

After years of drifting, writing, and rebuilding, Love Chant marked a turning point, a record shaped by shifting geographies, trusted collaborators, and a voice that’s grown deeper, darker, and more incisive. The tour feels like the natural extension of that rebirth.

Joining the tour is American singer‑songwriter Willy Mason, whose blend of folk, indie rock, and grunge‑tinged cynicism makes him a perfect foil for Dando’s melodic introspection.

“We’re tuning up our resonances… We’re on a mission to move molecules and make them boogie.” - Willy Mason

Expect sets that feel intimate, raw, and quietly devastating, the kind of opening act that doesn’t warm up the room so much as rewire it.

Full UK Dates

• 20 Sept – Stroud, Subscription Rooms

• 22 Sept – Brighton, Chalk

• 23 Sept – Southampton, 1865

• 24 Sept – Oxford, O2 Academy

• 25 Sept – Liverpool, O2 Academy

• 27 Sept – Torquay, Arena Torquay

• 28 Sept – Margate, Dreamland

• 30 Sept – Holmfirth, Picturedrome

• 01 Oct – Cambridge, Junction

• 02 Oct – London, Troxy

• 03 Oct – Northampton, Roadmenders

• 05 Oct – Newcastle, Digital

• 06 Oct – Glasgow, SWG3

• 07 Oct – Manchester, Albert Hall

• 09 Oct – Bristol, Electric

• 10 Oct – Birmingham, O2 Institute

• 11 Oct – Nottingham, Rock City

Tickets are available now via the band’s official site.

The Lemonheads’ story has always been a beautiful mess — punk roots, alt‑country detours, pop‑leaning radio hits, and a revolving door of collaborators that somehow never diluted the band’s identity.

From the early Taang! Records chaos to the Atlantic years that birthed It’s A Shame About Ray and Come On Feel The Lemonheads, Dando’s songwriting has remained the gravitational centre. Wry, melodic, emotionally unguarded — the kind of writing that artists like Courtney Barnett, Waxahatchee, and MJ Lenderman have openly celebrated through their own covers.

Love Chant didn’t just mark a return — it reminded listeners what made The Lemonheads matter in the first place. The voice is older, the edges are rougher, but the emotional clarity is sharper than ever. Pair that with a UK audience that has always embraced Dando’s blend of vulnerability and swagger, and you’ve got a tour that feels like a homecoming.

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Trauma Party aren’t here to whisper. They’re here to shake you awake, and their new single ‘Speak to Me’ is the sharpest jolt yet from the Waiheke Island four‑piece who’ve been quietly (and loudly) rewriting the rules of New Zealand post‑punk.

The track, the third video single from their debut EP Because You’ve Been Good, is a wiry, restless thing: angular guitars, a motorik pulse, and a chant‑like hook that burrows into your skull with the persistence of someone who refuses to be ignored. It’s catchy, yes, but there’s a tension running through it that never quite lets you settle.

That tension explodes in the video. Shot inside The Woolshed at the Waiheke Dirt Track, it’s a stark, human look at what happens when people slip through society’s cracks. Instead of pointing fingers, Trauma Party hold up a mirror, showing how loneliness, disillusionment, and ideological drift can pull vulnerable people toward the fringes. It’s political without preaching, empathetic without excusing, and honest enough to sting. And yet, in true Trauma Party fashion, it still bangs.

Formed in early 2025, the band, Buddy Olson, Derek Solomon, Ron K, and Kirsty Swanney, have wasted zero time making noise across Aotearoa. Their hybrid of garage punk energy, post‑punk bite, and subversive pop sensibility has already landed them support slots with Guitar Wolf, The Jackets, Schkeuditzer Kreuz, and noise‑rock icons LUNG. Their debut EP Because You’ve Been Good is a tight, bright snapshot of their early live favourites: from the rolling political fury of ‘Roll Up (It’s The New Truth)’ to the grit‑wave stomp of ‘Sharks’. It’s a manifesto disguised as a party, or maybe the other way around.

Frontman Buddy Olson sums it up with a line that feels less like a quote and more like a warning shot: “Apocalyptic times call for the fringe dwellers to unite, form bands, create art and speak up.”

Even before the video dropped, ‘Speak to Me’ was already cutting through the noise, topping RDU 98.5FM’s chart in Christchurch, landing high on Radio Control’s Top 10 in Palmerston North, climbing the nationwide Student Radio Network, and even breaking into the Radioscope Alt Airplay chart. Not bad for a band barely a year old.

With a full‑length album on the horizon and a packed year ahead, Trauma Party look set to push their sound, and their message, even further. They’re not just another post‑punk band. They’re a broadcast from the edges, a reminder that the people we ignore don’t disappear; they get louder. And Trauma Party are turning that volume all the way up.

Because You’ve Been Good is out now on Bandcamp, Spotify, and all the usual digital music platforms.

Find / Follow / Feast on Trauma Party

Bandcamp – YouTube – Instagram – Facebook

If anyone was hoping to be eased in gently to the 2026 festival season, the May Bank Holiday weekend weather had other ideas. In a sweltering Hatfield Park, 30,000 alternative music fans stubbornly donned their black band-tees and ventured out into the virtually shadeless expanses of the Slam Dunk arena for the 20th anniversary of the iconic alternative music festival.

New for 2026, two different stages were set up as dual threats, with Main Stage (East) and Monster Energy Stage both having completely independent left and right sides, one of which was being prepared while the other was live and kicking. Along with Scott’s Key Club Stage being fitted with a rotating drum riser for the same swift set up, the event organisers were able to reduce the time between sets down to practically nothing, meaning more bands squeezed into the day and more time to get sweaty in the pits.

Call Me Amour took first slot on the Key Club stage, along with their new drummer, creating a heavier sound than previous outings. Debuting their new song ‘Wrong Direction’, the four-piece took advantage of the fresh and enthusiastic crowd ready to take on the day.

Unpeople stared directly into the sun on Main Stage West while debuting their new single ‘Clouds’ without a hint of irony. Beautifully harnessing their catchy pop style four-part harmonies, layered on top of the occasional unexpected, but not out of place heavy breakdown, Unpeople are undoubtedly one of the most exciting rising acts in the UK music scene currently. Forming a part of the majority of festival lineups in 2026 this performance at Slam Dunk South sets the tone for what's sure to be a summer of chaos for Unpeople.

For something completely different, over on the Key Club stage Japanese alt-metallers SiM (Silence iz Mine) covered almost every rock genre imaginable on just their first track ‘KiSS OF DEATH’. The stylistic whiplash this band provides is addictive and intriguing, with reggae, metalcore and punk elements all entwined into their set.

Following on without a second to spare, Broadside used their appearance to appeal to the crowd to sell-out their upcoming UK tour. Singer Ollie Baxxter enthusiastically dedicating their song ‘Foolish Believer' to anyone stupid enough to follow their dreams, stating, “I pray that you do”.

Cancer Bats delivered the goods with a healthy dose of breakdowns and head banging, the band undeterred by the rising temperature over on Main Stage East. 

Slam Dunk has always been a festival to evolve and learn from its previous iterations in so many ways. Main stage East this year was home to many of the heavier bands on the lineup providing an area of the arena where fans of hardcore situated themselves amongst their own, without having to worry about clashes and sprinting to the other side of the site between sets. Cancer Bats slotted in perfectly to this area which used to host the more ska, punk and skater vibe with the ‘Punk in Drublic’ stage.

Returning for the second year in a row. Zebrahead embraced the fun with an abundance of inflatables including beach balls and dinghies chucked into the crowd gathered in front of Main Stage West. Inviting John Feldmann of Goldfinger onto the stage for ‘The Perfect Crime’ the Californian pop-punk legends kept the energy right to the end of their set.

Also whipping the crowd up into a frenzy were Leeds upstarts, Static Dress with singer/screamer Oli Appleyard repeatedly calling for everyone to get “Off your fucking feet”. With the holy trifecta of the Cookie Monster, Elmo and a banana in the mosh pit, Static Dress attracted the attention of Slam Dunk Festival with an undeniable dedication to throwing themselves around, even in the stifling heat. Appleyard took a moment to acknowledge what a dream it was for them to play the festival as he remembered growing up attending as a punter.

Trash Boat elicited singalongs from the first song ‘Tring Quarry’ then proceeded to ram their set full of throwbacks, some tracks, singer Tobi Duncan explained they hadn't played in almost ten years. Not that you'd know that, the band still able to flawlessly execute their old-school fan favourites, Duncan ended up topless, leaning into the crowd at the barrier, with the energy reaching new heights.

Perhaps one of the most impressive parts about Goldfinger’s set over on Main Stage West was the fact that singer John Feldmann remained in his signature suit despite the ludicrous temperatures of the hottest part of the day. On the flip side, the sun provided them with what couldn't have been more perfect vibes for Goldfinger’s particular brand of bright, upbeat ska, irresistible to dance to, especially on their iconic hit ‘Superman’.

The Home Team cut a rug over on Scott's Key Club Stage with their funky brand of pop-punk. In another fantastic collaboration of the day, Ollie Baxxter from Broadside returned to the stage for their track, ‘Somebody Else's Face’. This is one of Slam Dunk's greatest strengths- bringing together bands who have history, providing ample opportunities for surprise appearances from scene kin. (Spoiler alert this certainly wasn't the last surprise collaboration of the day).

Punk Rock Factory did what Punk Rock Factory do best and delivered a fun-filled set of punky covers of the silly, the upbeat and the catchy, including The SpongeBob SquarePants theme, ‘The Bare Necessities’ and ‘Life is a Highway’. Daring to cover those songs that nobody else would touch, they even chucked in ‘‘C’est la vie’ -originally by B*witched.

Taking Back Sunday walked out to ‘The Circle Of Life’ from The Lion King, Adam Lazzara exclaiming “I'm so happy to be here!” Happy or not, he was certainly quickly also very warm, removing his jacket after just the first song. Apart from an encore of ‘Cute Without the ‘E’ (Cut From the Team), the entirety of the rest of their set was a playthrough of 2006 album Louder Now. A more niche choice for a festival set but certainly appreciated by the hardcore fans in attendance.

One of the most anticipated sets of the day from President over on Main stage East was unfortunately cut down the middle by a power failure. After only a couple of tracks, the band took a stage-hiatus for the majority of their slot, coming back in time to play only ‘Angel Wings’ ‘Destroy Me’ and ‘In The Name of the Father’. Despite the long wait in the middle of the set, the majority of fans remained in place and were rewarded with the enigmatic band's return.

Up against both Taking Back Sunday and President in the schedule were Tonight Alive who did a valiant job of holding their own, bringing out not only Harmony Cavelle of South Arcade to sing a powerful cover of ‘Lonely Girl’, but also Bonnie Fraser of Stand Atlantic who lent her vocals to ‘Disappear’.

Singer Jenna McDougall paused for a moment to acknowledge the legacy of the band's time at the festival. “Our last Slam Dunk was 9 years ago. Our first Slam Dunk was… agggh maths!”. In fact, Tonight Alive's first outing was way back in 2011, which if you can believe it is 15 years ago. So much has changed about the festival since then, but even since their last appearance on the bill a great deal is different. At that time the South edition of the festival was taking place at the Herts University Campus and Slam Dunk Midlands was still a thing.

The Suicide Machines brought their retro ska-core to Scott's Key Club stage, singer Jay Navarro prowling the barrier, shoving the microphone in fans faces. This set surely won the award for most smiles of the day, with the crowd absolutely in their element, screaming along to every single word.

As the set spun around, Vukovi took to the stage to cause some chaos. The Scottish duo wasted no time with niceties, singer Janine Shilstone and guitarist Hamish Reilly bouncing around the stage relentlessly, Shilstone grabbing a bottle of bubbly and spraying it over the crowd during ‘GUNGHO’. 

Over on Main Stage East, Malevolence made a mark with a circle pit so massive, no one was in any doubt it was the biggest ever in Slam Dunk history, looking more like a hundred metre running track than the middle of a crowd at a gig. The Sheffield metallers also played host to a mosh pit proposal (She said yes!) The spirit and community of the metal scene, fully alive. Bringing out Knocked Loose’s Bryan Garris for ‘Keep Your Distance’ fever pitch was well and truly reached.

“Well you guys are a bit fucking lovely aren't you” grinned James Veck-Gilodi of Deaf Havana after hearing the reception from the crowd crammed into the Key Club tent. Leaning heavily on the 2011 album Fools and Worthless Liars, Deaf Havana took it even more old-school bringing out the big guns in the form of 2009 summer anthem ‘Friends Like These’ and Sean Smith from The Blackout to deal with the screaming parts.

“The name of our band is Good Charlotte, but tonight, this is the good thing”, Joel Madden gestured around the packed-out field in front of him. ‘The River’ was the song to welcome back Pop-Punk royalty to Hatfield for the first time since 2018. With the crowd split between them and Knocked Loose, the two ends of the festival site catered to the variety constantly at play in the rock community.

For the casual listener, Good Charlotte are one of those bands that seep into the very fabric of alternative music. You may think you know a couple of songs, but before you know it, you're screaming along to practically every word of the set with nostalgia dripping from every pore.

Reminding the crowd that Good Charlotte has been around for 30 years now, (collective groan from our backs, everyone) Madden gauged the temperature with a cheer from those who had seen the band before and those whose first time it was. With a pretty even split, it's amazing that even three decades down the line there are still people who haven't managed to catch the Maryland rockers before 2026.

Scattering their biggest tracks throughout the set highlights included ‘Girls & Boys’, ‘Chronicles of Life and Death’, ‘The Young and the Hopeless’, then ending with the fantastic run of ‘I Just Wanna Live’ ‘Lifestyles of the Rich & Famous’ and ‘The Anthem’.

With 20 years under its belt, and a vast amount of growth and adaptation in that time, Slam Dunk has become the bellwether for the year of alternative music events, becoming a home for a variety of rock genres to come together and celebrate the amazing legacy bands while giving a platform for the hungry up-and-coming. With no signs of fatigue, Slam Dunk may already be an institution, but in many ways, does still feel like it's in its infancy of what it could be.

Thanks Slam Dunk, Here’s to the next 20.

Words Imogen Bird

Pics Martha Fitzpatrick