Our Wide Awake 2025 Top Picks:
Our Wide Awake 2025 Top Picks: Wide Awake is back this Friday! Here’s who you need to catch By Caitlin Taylor Don’t tell the others, but Wide Awake may be our most anticipated festival this year. It’s brought to you by, and champions of, many beloved grassroots London venues like The Shacklewell Arms and MOTH Club. If you love the indie scene and alternative music, it’s where you need to be this Friday. MERMAID CHUNKY – 2:45 pm @ Wide Awake Stage Mermaid Chunky call themselves an “audio-visual duo” rather than a band, which seems pretty accurate. They’re one for the art students or those who spent their lunchtimes at drama club – expect face paint, big costumes, and a sound your parents probably wouldn’t really ‘get’. Maximalism at its finest. True Blue – 2:15 pm @ The Grove DIY Stage True Blue is a project by Maya Laner, the bassist of the synth-pop band Porches. She’s a multi-instrumentalist who has put out a series of great experimental pop singles over the past couple of years. Having previously opened for Wide Awake alum Caroline Polachek, she possesses a similar dreamlike feminine quality. UGLY – 1:30 pm @ Wide Awake Stage Ugly are ever-evolving, in many ways unrecognisable from their 2016 debut. They’re a vocal-heavy 6 piece who treat their music like art – part rock, part folk, part theatre. If you’re a fan of Wide Awake regulars Black Country New Road, give them a listen. deBasement – 6:00 pm @ The Grove DIY Stage If you were big into Brat summer last year but now are looking for something new then deBasement should be your soundtrack for 2025. Their catchy playful lyrics and party beats could draw comparisons to The Dare, MCR-T or Six Sex. They’re perfect if you grow a bit bored of guitars and are ready to party. ENGLISH TEACHER – 5:45 pm @ Wide Awake Stage Yeah, we know everyone is probably already planning to see English Teacher, but seriously you should. Their rise has been deservedly meteoric since the release of This Could Be Texas in 2024 but we’ve been diehard fans since the release of Polyawkward, their debut EP. Their set last weekend at The Great Escape was electric and we’re sure this will be no different. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
‘An enchanting event’ – Florence Rose at the George Tavern (18.05.25)
‘An enchanting event’ – Florence Rose at the George Tavern (18.05.25) Written 18.05.25 Last week Florence Rose debuted a new show, turning the George Tavern into a fairy garden to mark the start of spring By Caitlin Taylor Currently Listening to: A couple of days before the true Spring Equinox, Florence Rose and her troupe of artists took to the George Tavern’s historied stage. It was a night for those who grew up on Florence & the Machine and Stevie Nicks, equally as encapsulated by their flowing dresses and their haunting vocals. Mads Jensen, a newcomer to the London music scene, opened the show immediately setting the tone. With her long hair, lace skirts and bare feet, it was difficult not to picture her as a medieval bard. The instrumentation was impressive, the violin in particular, and it was a surprise to learn that this wasn’t her usual band. She spoke about her fascination with religious texts and the impact they’ve had on her music, providing depth to her already impressive lyricism. The mysterious duo eternally yours followed with their first ever live performance. One song expressed their desire to be somewhere else, the opposite of how everyone in the room appeared to be feeling. They enchanted the crowd with gorgeous harmonies, leaving them wanting more – which hopefully is soon to come. Qazi and Qazi could give anyone a lesson in how to captivate an audience; their echoing vocals were reminiscent of Snow White singing to the birds in the Disney classic. They both began and ended their set unaccompanied, a testament to the power of their voices. With a sweet little singalong in the middle and delicate hand choreography throughout, they were magical to watch. And finally Florence Rose took to the stage. Likely feeling the relief of a successful event, she gracefully launched into her set. Her performance tied a bow around what was already a dazzling night, managing to combine elements of all the previous artists as well as bringing her own unique touch. She could be likened to Adrienne Lenker, Joan Baez, or any other female singer who manages to find strength in their softness. It was beautiful. Florence also brought together an amazing collective of creatives who deserve credit: Jennifer Tett (@jennifer_l_h_tett) and Charlee (@unadored) managed to create an immersive fairy grove inside the classic London venue with flowers and vines strewn across the stage while various artists hung back pressed against the bar sketching the night’s events. It was an enchanting event, something you’d imagine would take lace inside a fairy circle. A testament to embracing the beauty of being gentle. We can only hope this becomes a tradition.
Charli XCX- Brat and it’s completely different but also still brat
Charli XCX- Brat and it’s completely different but also still brat (Re-Uploaded) Brat Summer just received a new season with Brat Autumn and the release of “Brat and it’s completely different but also still brat” this past weekend. Like a phoenix rising from the ashes, the new remix album is a new lease on life for arguably the best album of 2024. Words by Ricky Labrada Currently Listening to: To understand the significance one has to understand the cultural phenomenon that was the original album. Charli XCX dominated this last summer with her latest album “BRAT”, an inescapable and catchy, last hoorah for the hyperpop scene realising to critical and commercial success. It was an absolute phenomenon spawning the iconic “Brat Summer” phrase and making lime green become associated as brat green. This album was Charli fully embracing her impact on pop while giving it a nostalgic hyperpop sound embracing early 2000s club and EDM scenes. I also view it as her magnum opus after More so it also created anthems for the summer with tracks such as “365”, “Von Dutch” and “Apple” all achieving worldwide popularity. Tackling the issues of her party persona, hard drugs, a desire to be a mother and the conflict it creates with her career, “BRAT” is a truly raw album lyrically. On the musical side it embraces its synth sound, hard hitting baselines and autotune. It is at times meant to be played at 4 A.M. in a grimy club while in its timid moments it is a moment to sit down and cry. The initial album already received a bonus track version with “Brat and it’s the same but there’s three more songs so it’s not” adding the immensely popular “Guess” amongst the tracks. Simultaneously the singles “Von Dutch” and “360” received remixes. More importantly this “deluxe” version demonstrated what was coming in the ever expanding brat world. Shortly following the album “Girl, so Confusing,” “Guess” and “Talk Talk” remixes released building anticipation for the now announced remix album. The build up was one of the most anticipated as Billboards worldwide started appearing in the iconic green with the names of the artists featuring. This latest version “Brat and it’s completely different but also still brat” (third for those keeping track) takes a different approach almost completely reimagining the album while featuring a star studded guest list of Ariana Grande, Caroline Polachek and Tinashe to name a few. Putting it simply the rollout for the remix had almost as much, if not more, emphasis than the initial album. In many ways it was a massive event as I can’t recall the last time a remix album occurred, let alone one with this amount of marketing. The push for “BRAT” has been so massive that in the time since I started this review a second version of the remix album was announced and released featuring a Kesha led remix of “Spring Breakers” on top of the 13 new tracks. This latest update further pushing the impact the album has on pop culture. “They all wanna sound like me, All wanna be like Lean ” commences the opening remix to Charli XCX’s “360” featuring Yung Lean and Robyn giving us a taste of what is waiting. The three artists go back and forth having fun with their lyrics with examples such as “Hey why you do it so cold? They say I’m the realest ever, yeah, Thats what I’ve been told,” involving all three in a playful manner. On the whole it is a remix in the traditional sense maintaining the original beat while adding both features and updating Charli’s own verse. It’s a fantastic introduction to a brand new version of a track many of us grew familiar with over the summer. What I couldn’t imagine was how drastic some of the tracks would be. Overall much of the album tracks lyrically are natural thematic extensions with the artists chosen for each track serving a purpose. Lorde’s feature changes “Girl, so Confusing” from a monologue into a dialogue between both artists, while showing us who the track was originally about. Similarly, Ariana Grande on “Sympathy is a Knife” flips its meaning into a commentary on how media can easily change the perception of someone, something Ariana is familiar with. Meanwhile, The 1975 featuring on the piano tinged “I Might Say Something Stupid” serves somewhat as a cheeky nod to Matty Healy’s tendency to say sometimes stupid things that cause controversy. Other tracks change their original meaning such as “So I”, the slow emotive track honouring the late Sophie. Initially a song expressing regret of how Charli treated Sophie, now becoming a positive reflection, reminiscing about the good times they shared. As for “I Think About It All the Time” it similarly shows us the progression of Charli’s psyche over the last few months and how this new level of fame affects her. It is a continuation of the initial fears of her career, persona, and desire to be a mother, while adding in the pressure of focussing being amplified from this new fame. Both tracks are beautiful, if not a bit of a heartbreaking change from the mostly party centric vibes of the original album. This version of “BRAT” is still very much in early on in its life and while I do not like every remix, I appreciate the distinct changes most tracks take. Significant highlights include “Club Classics” with Bb trickz, “Von Dutch” with A.G. Cook and Addison Rae, and “Mean Girls” with Julian Casablancas. In fact I vastly prefer these to the original versions. Some of the songs are deeply removed from their original becoming works of the featured artist rather than Charli XCX’s as seen with the 1975 and Caroline Polachek. The latter in particular gives the best verse on the whole project, it is truly beautiful both lyrically and melodically. Another track being vastly different from its original counterpart is “Club Classics,” sounding more of a remix of
Leibniz – Shut Up The World
Image credit: Jake Reid Leibniz – Shut Up The World Leibniz are a quick-rising Brighton trio that have captivated the grassroots music scene, with their infectious live energy and raw emotion making the ‘grungecore’ newcomers an essential addition to the artist radar. Words by Kristian Floate https://www.youtube.com/watch?v=J94fsi6pXCk Expect unfiltered anger and pain – bursting from the seams of a discography that doesn’t tip-toe around difficult subjects, but tackles them head-on. From transgender liberation and healthcare to mental health, Leibniz are highlighting the sometimes bleak reality of these topics, plating them up in front of diverse audiences and creating meaningful and essential conversation. Easing in with a squeaky clean octave melody, the trio don’t bother hanging around with gradual build-ups and steady interludes – cascading into full chaotic breakdown within the first few bars and maintaining an unmissable potency from start to feral finish. With Leibniz’s upcoming debut EP ‘Lifetime Patient’ encapsulating the ‘sonic expressions of trauma’ and playing homage to growing NHS waiting lists – their first single is a welcome introduction to a band who won’t hesitate to let their guard down and share the unfiltered truth. Written during a panic attack, Erin says – “I was literally having a meltdown when I wrote ‘Shut Up the World’. I just needed to release all this confusing energy and tension, and I think this song really represents the feeling of being overstimulated and unable to do anything about it, all I want is to shut up the world around me and shrink inside myself but all I can do is scream”. If the pained screams of lead vocalist Erin Munn aren’t enough to communicate the deep-rooted frustration and confusion catalysed by feelings of overstimulation in a deafening world, their lyricism is sure to do just that. Desires to ‘turn off my mind’ and regain control are deep-rooted from the very first note, and the relatability of these themes are ones that have earnt them deserved spaces on local + national stages, from supporting Brighton’s Belmondo on September 8th to riot grrrl legends Pussyliquor earlier this year. https://www.instagram.com/p/DAajBMStJJ0/ The unstoppable forces of Erin, Jack and Elisha have also turned the heads of Brighton’s Small Pond Studio, and their contribution to the critically acclaimed ‘Emerging’ program with 2023’s ‘Cold and Calculated’ has sent seismic waves across the country and established the band as ones to watch. Paired with their DIY follow-up ‘No Body No Home’ in early ’24, Leibniz are forging a discography that compiles elements of grunge, shoegaze and hardcore effortlessly, while showcasing a sound that continues to mature and diversify in technicality and complexity. ‘Shut Up The World’ will be released on September 27th, and the full EP ‘Lifetime Patient’ will hit the airwaves on 11th October – paired with physical cassettes and unannounced live shows.
We Out Here 2024 Review
We Out Here: Gilles Peterson’s St Giles festival is a magical fairyland of a festival we couldn’t help but be enchanted by This was the fifth year of We Out Here and it seems to be truly finding its place as a festival that masterfully mixes what could be opposing vibes. If Leeds is a teen paradise and Boomtown is a theatrical wonder, We Out Here is a fairy garden. It’s arguably the ideal getaway with smoothies and yoga by the river in the morning and raves at night. The age range also skewed a little older than say Reading or Truck, with groups of people in their late teens seeming very rare and more young families with babies. But that didn’t mean it didn’t get wild once the sun set, with DJ sets until 4am on the Friday and Saturday full of electronic, house, and DNB hits. Words by Caitlin Taylor Mount Kimbie were truly a showstopper on the first night. The crowd were already hanging on their every word but after they announced King Krule as a surprise guest, they went wild. I feel bad for everyone who decided to come down on Friday because despite the quick downpour, it was an amazing way to start the long weekend. As the music began again midday Friday, we came to a halt after hearing the power coming from the main stage as Cassie Kinoshi’s Seed played their set. They were incredibly loud but remained smooth and we sat captivated as Kinoshi explained the meaning behind certain songs from mental health to British colonialism. Everything felt so intimate despite the very large crowd they managed to attract. Bel Cobain was on a few hours later and she was clearly popular; I even got stopped on the way there by a group of young girls who were double-checking they were going the right way. During her set she radiated warm positivity, smiling in between songs as her adoring audience. All weekend there was a really great array of female and non-binary talent given full focus on the main stage from spoken word artists Kae Tempest to R&B sweetheart Corinne Bailey Rae to the aforementioned Cassie Kinoshi. It’s great seeing so much natural diversity at a festival that can attract such big names as Andre 3000 (PS – guys give the flute a chance, it’s really great). Ego Ella May had two slots and we managed to catch her later one at the Brawnswood stage which throughout the day doubled as a restaurant. I’m sure the intention was for the artists performing to entertain the dinner crowd, but May attracted such a large standing audience there’s no way that those sitting would have been able to catch a glimpse. Her performance was gorgeous and she had her audience spellbound. Amaliah played a set on the incredibly large Rhythm Corner Stage while it was still daylight, a difficult feat for any high energy, dance-focused DJ when most attendees were more in the mood for live music. She had a super London sound with good beats and great mixing. Honestly, she deserved a later slot or to be put on a more intimate stage as her audience remained incredibly engaged despite its small size. I’m keen to catch her next London set and have been listening to her Boiler Rooms since I’ve been back. My favourite stage by far was the Grove, a giant forest bowl where the crowd stood gazing down on whichever artist was performing. It felt so immersive and community focused, especially if you were there at the end of the night, smiling at strangers and making friends. I also loved the Tomorrow’s Warriors Big Tent, an entire decently sized covered stage with a carefully chosen selection of up and coming artists. Too often are smaller artists shoved in a corner and easy to miss, but this was the closest stage to general camping and had its own bar. It was the perfect place to hang out in between the larger artists and discover some genuine talent – a couple highlights were Victoria Jane and Maddy Coombs. My one main criticism was wifi and phone signal. As much as I think for some this would be the perfect excuse to log off, turn off, and focus on community, music, and nature for a few days, as someone who was trying to show off the best parts on our TNAM instagram stories, having to run back to the press area (or trying the cheeky ‘throw your phone so high in the air it maybe gets signal’ tactic) every time just to post one story was exhausting. It also made meeting up with friends horrendously difficult but that did lend to the creation of many “artistic” totems that are present in most of the photos you’ll see of the crowds. If you’re going next year, make sure you have some gaffa tape, a big stick, and an easily noticeable item (we used Dublin socks and a can of WD40 – see final note). Overall, WOH 2024 was one of the best, most community focused and impressive festivals I’ve ever had the pleasure to attend. Giles Peterson deserves a hand for being the most personable festival founder I’ve ever seen. You could catch him walking around, chatting to people and joining in on other artists’ sets. He also actively invests in new talent with his Future Bubblers program for exciting musical projects, something we’re all for here at TNAM. We can’t wait to see what next year brings and no doubt we’ll be there. Final Note – special shout out to Coex who drove us down and somehow managed to play a great set despite having to fix a synth live on stage with just a screwdriver and a bottle of WD40. View this post on Instagram
Manchester Psych Fest 2024: A day of raw, hypnotic, guitar-led energy
Heartworms by Kyle Roczniak MANCHESTER PSYCH FEST 2024: A DAY OF RAW, HYPNOTIC, GUITAR-LED ENERGY As the Autumnal clouds firmly make their mark and restore Manchester’s infamous dull tones, Manchester Psych Fest saw a glimmer of sunshine as TNAM.UK bid farewell to the whirlwind of Summer festivals once more. Words by Kyle Roczniak Kicking things off in a stylish fasion, the beautiful ballroom of the O2 Ritz saw Parisian collective Juniore make their much-anticipated return to Manchester soil, carrying with them a wide array of surf-rock inspired melodies and sunsoaked grooves, encapsulating a certain ‘60s French noir. Their big hits such as ‘Ah bah d’accord’ are welcomed with rapturous energy from the packed-out room, as vocalist Anna Jean’s elegant tones set the city up for a day of weird and wonderful music. TTSSFU Kyle Roczniak It’s not long until we’re back in the smallest, sweatiest rooms though, as a mad dash across the road following Juniore’s hour-long epic means I can catch Duvet’s guitarist Tasmin Stephens open the 500 capacity Gorilla, under her solo project name TTSSFU. Wielding her signature heart-shaped guitar and flanked by her consummate band, her soaring indie-pop tunes translate perfectly to a live setting, received by a refreshingly respectful crowd of all demographics. Psych Fest sees Tasmin take on two must-see sets, delivering driving post-punk goodness with Duvet a mere 3 hours later. A highlight of MPF is always the eclectic atmosphere provided by the utilisation of different event spaces. Between catching Goat Girl at the historical Albert Hall, and dashing back to the Ritz for NewDad, the afternoon is filled with a rare sense of urgency as I dash between Manchester’s staple ‘sweaty venue’ YES, and the makeshift outdoor stage at Projekts, an urban skatepark nestled comfortably under Manchester’s inner ring road, the Mancunian Way. My trip there was an excitement-filled one, finally catching Heartworms live, the London-based solo project of guitar and theremin witch Jojo Ormes. Her ability to create such a wide soundscape is something to be noted, as she effortlessly belts atop a mix of heavy guitars and boomy, driving drums, creating an electronic sound with a post-punk-esque lineup. Closing on ‘Retributions Of An Awful Life’, Heartworms must surely feel a sense of belonging in front of the rapturous festivalgoers, as they dance and sing the afternoon away, and do their best at catching the T-shirts thrown into the crowd by the band. Heartworms by Kyle Roczniak Heartworms by Kyle Roczniak Heartworms by Kyle Roczniak The rest of the day sees me waiting around for my real heroes HotWax – the MUST-SEE grunge rock trio from Hastings, with the loudest and most prominent set that undeniably leaves the biggest mark and is aching to be showcased on bigger and better stages around the world. Aside from some technical difficulties that involved bassist and vocalist Lola having to forcibly hammer against the switches on her instrument, and press down on guitarist and lead vocalist Tallulah’s pedal board like her life depended on it, the set was the perfect late-evening farewell to the group, with their raucous antics pleasing a mix of devoted fans and converts. With the rapid drum rhythms (courtesy of Alfie Sayers) and angular guitar lines of ‘Phone Machine’ to the unforgettable earworm bass in tracks such as ‘Rip It Out’ and ‘High Tea’, we can be sure that the band’s onstage teaser of an upcoming debut album means that any future Manchester shows will only progress to be bigger and more exciting for everyone. Hotwax by Kyle Roczniak Hotwax by Kyle Roczniak Hotwax by Kyle Roczniak
RALLY Festival Review
RALLY Festival Review RALLY is the festival for Goldsmiths and UAL students/graduates, or those who wish they were. It’s exactly what you’d imagine they’d dream up if asked to organise one. This is a crowd that frequents the Nags Head in Peckham and who knew about Ormside Projects and Venue MOT before they were cool. It’s GALA’s edgy younger sibling, and undeniably it looked great, especially as it grew darker. The Agnes stage was the glowing centre point of the festival with its silver scaffolding and multicoloured plastic panels coming together to resemble something from the original Blade Runner (it’s actually inspired by the painter Agnes Martin and beautifully designed by CAKE Architecture). Most of the festival’s drawing names were here, or at the more traditional main stage. Words by Caitlin Taylor The bad weather was on and off throughout the day unfortunately, as it was the year before. But unlike other festivals, RALLY benefits from being a small, one day affair meaning the mud never became too treacherous – and luckily rain jackets and hoods are staples of the gorp-core fashion most of the crowd adopted: here you were more likely to see Arc’teryx and neutral tones than glitter eyeshadow and crochet bralettes. Debby Friday completely packed out the Millhouse tent, a smaller stage towards the back curated by RALLY’s sister festival GALA. Friday gave a high energy, electric performance dancing around her adoring crowd, even twirling some enthusiastic fans. She managed to keep her vocals strong despite her moves and there was a constant smile on her face. She proved herself as a brilliant performer and I feel lucky that we could see her in such an intimate setting rather than on the large stage she will likely soon be on. The day before, we’d actually seen Fabiana Palladino as part of Jai Paul’s band at All Points East but today she was given her own solo time on the main stage. I wish there’d been more of a focus on visuals for her set; RALLY had organised films to play in-between sets on the main stage but as they were tending to run late, sometimes the films ran into the artists sets which, in my opinion, worked a lot better than just having their name behind them. The focus on local artists was brilliant – maybe next year that could be extended into getting local artists to do visuals? Palladino’s smooth eighties pop inspired style would benefit from some related visuals, something that would attract the crowd her voice deserves. Bar Italia were late on due to technical difficulties which you could tell frustrated the band. The crowd swarmed the Agnes stage, we were packed in like sardines near the front as everyone waited pretty patiently for them to start. Nevertheless, they gave a pretty flawless performance, covering all their most popular songs. Part way through the set we felt ourselves being shoved aggressively further forwards and turned around to see a mosh pit had formed behind us. The energy here was different to how some of the bands previous London shows had been (their Village Underground show last year was much more relaxed), and so were they. They’ve recently made it clear they aren’t fond of the “mysterious” label they’ve been given and they definitely had personality in this performance. Nina’s voice is truly captivating and as they went on they become more and more playful – Nina and Jezmi in particular starting dancing and spinning around, grinning at each other. (Note – we actually sat next to the band in the smoking area at the Avalon Cafe afterparty and gave them some tobacco. It’s crazy how without Nina present and despite being potentially the stars of the festival, they sat quietly on the curb going almost completely undetected.) We missed the end of their set as we had to run across to see Sorry on the main stage which was a puzzling choice by the organisers as there’s a large amount of crossover in those fanbases. Luckily due to the festival’s smaller size, it was just a quick couple minute walk so definitely not a large issue. It’s a known fact that Sorry like to improvise with their pre-existing material when playing live, adding intros, samples, and distortions to all of their fan favourites. You probably wouldn’t expect to hear Megan Thee Stallion’s voice calling out “real hot girl shit” during their indie rock/pop/alternative (what genre even are they?) set but if you’ve been following them for a while you’ll know they wear their hop-hop influence on their sleeve. They gave an energetic performance of ‘Screaming in the Rain’ although ironically they marked the turn in weather for this previously soggy day. They’re undeniably one of the best bands going at the moment, constantly managing to feel fresh and interesting. View this post on Instagram A post shared by RALLY (@rally.rally.rally) Nilüfer Yanya took to the main stage as darkness set out over the park. It fit her set beautifully, allowing all attention to both her and her band. She’s incredibly expressive when she sings, her face fully a part of her storytelling. With the release of her new album soon approaching it seems inevitable that she’s about to truly blow up. Overall, RALLY is a festival that is truly finding its feet – in a good way. Great art takes time and by looking at GALA, it’s clear to see hypothetically where RALLY could be in a few years. I personally hope it gets there, its focus on supporting local artists, musicians, and venues is something that other festivals should definitely take note of. If anything, next year I hope they experiment even more, have even more unknown local artists playing and you can guarantee we’ll be there to support it.
The Sincerity Behind Esme Emerson’s EP
PHOTO: Nick Ilott (@concrete_state) CREATIVE DIRECTOR: Lydia Cooper The Sincerity Behind Esme Emerson’s EP Big Leap, No Faith, Small Chancer 5 September 2024 Esme Emerson are an up-and-coming indie folk brother-sister duo consisting of Esme Lee-Scott (she/her) and Emerson Lee-Scott (he/they) who hail from Suffolk. They have been performing in various cities across the UK this past year with artists like Keane and The Japanese House. I sat down with the ever-charismatic siblings to talk about their inspirations, sincerity, and their new EP Big Leap, No Faith, Small Chancer. Words by Joyce Lian https://www.youtube.com/watch?v=H-39q5MiLeY Even in the way the pair introduced themselves their synergy is felt. They seamlessly alternate in their introduction, with Esme starting: “We’re Esme Emerson, siblings from–” “–Suffolk. We’re in a band together. We make broadly indie pop music but we draw inspiration from folk and–” “–hyperpop; all the good stuff. We love country… yeehaw.” Before they became the artist duo Esme Emerson, they were two kids making music during term-break music camps. Esme describes these camps: “for the week you write these songs together and then on Thursday they’d let you take the song in their studio to record it, put it on SoundCloud, and then on the Friday perform it to the parents.” And while she acknowledges that her songs were often about “ice cream and zombies,” this experience was not only their first foray into music making, but it also showed them that “‘oh, you don’t have to be an adult to do this like I can just write songs.’” Emerson, being four years older than Esme, had a very different experience, but an equally meaningful one: “I didn’t want to be in a band with my sister but we were like writing adjacent to each other. I think we just have been lovers of music since then and then we started writing together in 2020.” While Emerson’s band of older children would headline for the parent performances, Esme was likely his first and biggest fan; she is now what she calls a “successful youngest sibling,” finally able to join her brother’s band. As a sibling myself, what really struck me was their compatibility with each other. Not only are they able to be close friends, but the way they, as Emerson puts it, seem to “share a brain” contributes to their ability to make music together the way they do. Esme compares the two of them to the fictional siblings Charlie and Lola; when they were younger and the age gap felt more significant, they got along but weren’t the closest. Now, however, she describes themselves as best friends, with the “same tastes” and “same thoughts.” But as far as music goes, their teamwork is nearly supernatural. In an almost telepathic fashion, they can read each other’s minds when it comes to their creative direction. Esme started to realize how in-tune she was with her brother when working with other people: “you explaining something a little bit, or like just knowing what you want, and them being like ‘I don’t understand what you’re saying.’ I was like ‘oh wow, we really share a brain.’” Emerson also attributes their ability to fill in the other’s gaps and to lean on each other’s strengths as a large part of their co-working success. He credits Esme with leading the lyrical writing, which he claims is the “weakest part of [his] musical brain”, while Esme points out that Emerson has “a way with just sounds and textures and music” that she doesn’t. PHOTO: Nick Ilott (@concrete_state) CREATIVE DIRECTOR: Lydia Cooper When discussing their musical inspirations, they immediately jump to shoutout Hovvdy. Along with Hovvdy, Emerson named artists Dreamer Boy, Frost Children, and Roji Sakamoto (Emerson was a Film Composition major in university), while Esme included Dijon and Adrien Lenker. Esme, who is in charge of the more visual aspects of their artistry and paints all of their album art, says that things she watches or reads also inspire her. In general, they appreciate artists whose authenticity shines through in their music, and they try to do the same. Esme Emerson feels the best about their music when they channel their sincerity into their music. Esme says that when she looks back at their music she wants to: “see something really honest of what I was at the time… I don’t want to see something that, like, I made to impress people … I want to see this, like, real art.” And while she derives much of her inspiration from her own life, the duo are able to express their authenticity together because of the joint experiences from their shared childhood. The siblings’ ability to relate to each other’s life experiences plays a large role in the larger motifs of belonging and nostalgia in their music. Adjacent to sincerity, Emerson reveals that “nostalgia is really important, and I think it comes from being siblings, you know, like looking back on our lives together.” Being a diaspora Chinese person myself, I really admire Esme Emerson’s integration of Chinese aesthetics into their artistry. As seen in the photocards they pass out at shows and across their Spotify page, the siblings are photographed standing in their aunt’s house with floral patterned wallpaper and traditional Chinese decor hanging from the walls, evoking retro Chinese aesthetics. Tying back into the theme of sincerity and nostalgia, they felt that their Asian heritage is essential in understanding them as people and artists. As Emerson puts it: “cultural and biracial identity is so core to who we are and our experiences that it wasn’t even really, like, a considered thing like ‘oh, we have to market ourselves like this’… it just was like ‘this makes the most sense for us.’” Overall, their relationship with their cultural identity is complex. Esme shares that while growing up in the very white Suffolk, school “was not a fun time.” This particularly feeds into why it feels “pretty badass to really own it visually and, like, push it to
Thursday Diary Boomtown 2024
Thursday Diary Boomtown 2024 26.08.24 Words by Isla Mcrobbie It’s been 15 years since the launch of the party city, skies blanketed in blue and cast with fire, confetti, and painted smoke. Boomtown breathes to the sign of the times. Twice closed due to the pandemic, we had to say goodbye to the world crafted up to 2019 and, true to their ethos, rebuild. Quite literally starting with a new chapter in 2022, the festival, situated in the bowl of South Downs National Park, has since prevailed and celebrated a remarkable third birthday titled Revolution of Imagination. Showcasing new district designs, story missions, and both rising and established talent, TNAM was invited to take a cake slice. Through light showers, our time at the 5-day event started on Thursday, just moments before the gates to the interactive city opened. Admittedly, I was moping—not because of the wet marks splotching my glasses, but because I had to miss the Wednesday forest sets from the likes of Mother Dubber, Mia Koden, and JayaHadADream. But it was time to toughen up because I was now at the Botanica Street party, standing on a picnic bench trying to get a view of the 400-strong early bird audience here to see Bristol-based DJ Salt. Seasoning the crowd with UK funk, house, and a sprinkle of afrobeat, no foot missed a beat as everyone two-stepped their way through the early afternoon. For Salt (real name Solly Halt), her timing and positioning for the set were perfect. The sun peeked through the clouds, enriching the Aztec-painted blue stage as her beats dropped and built up again. We were all excited and rearing to go. Once the city gates opened, the day moved quickly. A strict schedule left me brushing through performances from Genie Tunes and Chinese Daughter while also allowing time to explore the set designs of this year’s world. I’ve always struggled to paint a picture of what lies inside Boomtown’s walls for those who haven’t attended. This year, eight city districts came to life, each with its own elected leader. We watched theatrics, trials, and tribulations as each district presented its vision for building a new, perfect world. Within these wildly unique and meticulously crafted districts are characters to meet, causes to join, and secrets to uncover around every corner. You can play the game as deeply as you want—interactivity is key—but you can also just pop in for a light laugh with friends. “The aim of the game, if you choose to play, is to discover the stories unfolding all over the city and uncover the collective wisdom teaching us all how to transform our world. Join us… start anywhere, follow everywhere.” We ja lot about the sensory overload from actor’s quests and bass thuds coming from all horizons. Even with the event’s new structure of a condensed city, I still can’t comprehend how Boomtown’s most dedicated civilians manage to complete the back-alley storylines while also finding time to listen to the music. Mollie Rush and Chicha Morada set the tone for my early evening, warming things up before our big stay at Hidden Woods, where we were in for a treat from international concrete junglist and DNB adrenaline shot, Natty Lou. Hidden Woods is a Boomtown staple—a stage nestled in a forest adorned with crochet lamps and structural treehouses. Natty, who is also a professional dancer, led her sea of thousands into a rave that became the peak of the evening for most. Her presence shone as she defied predictability, dropping the bass a beat later than expected, sending the crowd into a frenzy. Bodies jumped rapidly, caught up in the excitement and disbelief of where the next wave would take them. A last-minute switch brought MC Tiny K to the mic, and together with Natty, they bounced off each other like best friends from different cities meeting for the first time. Despite the distance between the stage and the crowd, Natty and Tiny K made everyone feel included, as if they were part of the same close-knit circle, even from hundreds of people away. And in typical Boomtown fashion, when you think the night will end, it doesn’t. More incoming What do you think? You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Gig Review: Jaz Beeson and Cora Rebel @ Servant Jazz Quarters (18/07/24)
Gig Review: Jaz Beeson and Cora Rebel @ Servant Jazz Quarters (18/07/24) 06.08.24 Words by Charles Buttle Nestled in the heart of North London is the Servant Jazz Quarters, an intimate and welcoming events venue that has hosted many talented musicians throughout its history. On Thursday, July 18th, it was the setting to an unforgettable spectacle as Jaz Beeson, 24, took to the stage to deliver her captivating headline performance, ‘The Petrol Receipts Show’, complemented by special guest Cora Rebel, 26. As the audience eagerly awaited the evening’s performance, Cora kicked things off with an enchanting opening act. She took the audience on a rollercoaster of emotions through her original music, including ‘Room For Wonder,’ ‘Break Of Dawn,’ and her latest single, ‘20 Forever’. However, her debut performance of her original song ‘Again’ was a standout. Cora held complete control of the room as the audience hung on her every word during the powerful and emotive track. The further she sang, the louder the roars of applause got, setting the bar incredibly high for Jaz’s upcoming performance. Throughout the interval, audience members spoke incredibly highly of Cora’s opening act. One guest, Andy Gardener, commented: “Cora has come incredibly far throughout her career, and this performance marks a new era for her as a musician.” Another, Benedict Williams, added: “Cora being invited as the special guest was an outstanding choice; while she and Jaz take different approaches towards their sound, combined, they’re a force to be reckoned with.” As more people streamed into the venue, anticipation for Jaz’s entrance grew amongst the audience as the band took their place. The lights dimmed, and a static transmission filled the air, introducing the premise of the show while teasing several hit songs yet to come. Then, as the band began the introduction to ‘Peugeot 205’, Jaz surprised the audience with her sudden appearance from the wings, ready to deliver a captivating performance. Throughout the show, Jaz delighted the audience with her latest hits, including ‘False Ceiling’, ‘People Pleaser’, and ‘Villain’, eliciting adoring cheers and applause. But, while each of her original songs was a crowd-pleaser, her rendition of Fountains of Wayne’s ‘Stacy’s Mom’ electrified the audience, establishing itself as a memorable highlight of the show. As Jaz wrapped up her final song, the crowd pleaded for just “one more song”, and with the resourcefulness of her trusted band, she pleased the audience with a thrilling rendition of One Direction’s ‘What Makes You Beautiful’ to conclude the evening. Towards the end of the show, John Harris commented: “Jaz is unlike any performer I’ve ever seen; even though her talents as a singer and songwriter can’t be understated, her ability to connect with the audience is what makes her a highly respected figure in London’s music scene.” Furthermore, Matt Gray commented: “We travelled all the way from Grimsby to watch Jaz perform because that’s truly how much we believe in her; every time she’s on stage, it’s magic.” Taking a “personal touch” towards the performance, ‘The Petrol Receipts Show’ was filled with small yet powerful elements that made the evening unforgettable. From handcrafted merchandise to the decorated stage, no detail was left untouched by both Jaz and her team. However, a standout element of the show was the prevailing sense of love and community throughout the venue, connecting guests and performers alike. During both Cora’s and Jaz’s performances, each artist openly expressed their heartfelt appreciation for the incredible turnout while also praising one another’s acts. It was evident that both artists understood the significance of being part of a greater whole, as at every opportunity, they showered their team, band members, and the audience with nothing but glowing praise. Jaz said: “I couldn’t be happier with how the evening went. From the love and support of the audience to the hard work and dedication of my team, it was truly an evening to remember.” Cora added: “I’ve loved being a part of the show as Jaz is an incredible artist and a joy to work alongside. It was interesting to see our audiences overlap for the evening and watch everyone have an amazing time.” “I’m just thrilled to be back doing what I love,” Jaz will perform at ‘Humber Street Sesh’, Hull, on Saturday, August 3rd. Furthermore, Cora plans to record her entire set from ‘The Petrol Receipts Show’ and make it available on her YouTube channel in the coming months. Cora will also perform at The Hope and Anchor, Islington, on Wednesday, August 21st. What do you think?