Top Picks: Left of the Dial 2026
← Back Festival Playlist,TNAM.UK Playlist Left of the Dial 2026 Playlist by Caitlin Taylor TNAM’s going abroad! Here’s our top choices from Rotterdam’s Left of the Dial festival. From some London faves to some new discoveries, check out who we’ll be seeing over the weekend. All Genres (Mix) {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.noReviewsLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Best of September 2026
The Best of September 2026 TNAM Staff Top Tracks of the Month By Caitlin Taylor 11 October 2026 The weathers getting worse so it’s the perfect time to find new music to listen to on your rainy commute. Listen to the full playlist to see all our favourite new releases, or carry on reading to hear about the best of the best you need to hear ASAP. 300SkullsAndCounting and Jenny Sparks – ‘The Ballad of St Nick’s Park’ As someone who also moved from Warwickshire to London, this is a personal favourite of the month. St Nick’s Park plays with nostalgic themes and sounds to create something fully new. While it may not be for everyone, it’s undeniably fresh and interesting, and proves XL Recordings continue to be one of the only labels worth keeping an eye on. For fans of: 100 gecs, B0YG1RL The Slow Country – ‘Through Your Teeth’ We’ve followed The Slow Country for a while and their string-heavy folksy rock sound is showcased beautifully in this new single which is accompanied by a romantic video shot through a rose-tinted lens. Read Ewan’s indepth thoughts on the track here. For fans of: Westside Cowboy, Gently Tender Spanish Horses – ‘Hey Man (Hey Man!)’ Having recently signed to So Young Records, half-British half-Parisian band Spanish Horses newest release is symbolic of a hazy Summer evening. Featuring some beautiful guitar work with a psychedelic edge, it’s a track that feels like the start of something big for the band. For fans of: The Velvet Underground, Big Truck Esme Emerson – ‘Woof Sibling duo Esme Emerson dropped their contemplative new single ‘Woof’, exploring ideas of feeling “trapped (or leashed) by a desperation for tenderness”. Co-written by Amber Bain of The Japanese House, who’s influence is clear, it scratches the itch for a great new indie pop track. For fans of: Marika Hackman, Angel Olsen green star – ‘lush’ Nostalgia for early 00s and 90s music and aesthetics often results in subpar copycats, but green star’s latest release manages to hold it’s own among the rest. Caked in grunge with a soft goth rock aesthetic, they’re making their own space in the over saturated London shoegaze scene. For fans of: Sonic Youth, my bloody valentine You Might Also Like Recent Posts
TNAM Picks: Future Days 2026
← Back Festival Playlist,TNAM.UK Playlist Future Days 2026 Playlist by George Bicknell It’s nearly time for Digbeth, Birmingham’s iconic creative quarter, to become a hub for music lovers everywhere as Future Days 2026 takes over The Crossing. This alternative music event, organised by This Is Tmrw, is once again spotlighting some of the most exciting artists from the worlds of post-punk, indie, dance, and everything in between on Friday 16th and Saturday 17th October. Previous performers include Black Country, New Road, Lambrini Girls, and Gurriers. [Buy tickets here] All Genres (Mix) {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
TNAM Picks: Boomtown 2026
← Back Festival Playlist,TNAM.UK Playlist Boomtown 2026 A playlist featuring artists who played at Boomtown Chapter 2025 by writer Shenice Friday. Cover photo by Giulia Spadafora. All Genres (Mix) {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
Its The End of the Road (Festival)
End of the Road has historically marked the end of summer. It’s in the name, hot ciders adorn the bar, and campfires transform the sunny festival backdrop of the last few months into Autumnal Americana.
Why Haus Show Fest Matters
WHY HAUS SHOW FEST MATTERS The DIY underworld is still thriving [Donation Link] Words & Photos by Caitlin Taylor & Eli Callingham 21 September 2026 On the 26th June 2026 James Moss of the band The Wheel 2! posted a festival lineup on Instagram. It boasted “6 stages! 3 days! 2 many bands!” but gave no location. We were on it immediately, sliding into his DMs to ask for more info and learned that it would take place across a handful of South London venues, all either belonging to people involved or public spaces. One stage sat a short stroll away from the Millwall stadium along a route that would feel familiar to any Venue MOT or Avalon Cafe frequenter. A performance space had been created under a bridge which featured a humming generator and a backdrop of hanging vines, framed by the arch of the bridge itself. There was no doorman here, no one collecting tickets or limiting numbers, and so the crowd spilled out onto the road and across the street. Occasionally a delivery driver would speed by on a moped or kids would come by on their bikes, curious as to what all the noise was about. We arrived here first on Saturday evening to catch the enigmatic half band/half performance troupe Dura Mater. Using the most of the space they were given, they were accompanied by dancers holding puppets who provided multiple costume changes. An issue with the generator resulted in a brief acoustic set, but at no point did the energy drop. They make music to dance to, with catchy beats and playful lyrics that will have you nodding along. Afterwards we wormed our way through Bermondsey backstreets, guided by an address we’d received through DM and the distant sound of heavy guitars, ending up in the carpark of a warehouse complex littered with art school graduates and cans of beer. Some didn’t even seem to be there for the music, with a couple of groups sitting in exactly the same place from when we arrived to when we left. The set-up felt the most official of the ones we saw, with dedicated individuals manning the door and constructed bar respectively. This is where we caught the majority of the bands we managed to see, spending the entirety of our Saturday evening. First up was the tailend of Omertà, an abrasive band who put the noise in noise rock. We barely managed to get a glimpse as the living space was packed shoulder-to-shoulder (and remained so for the majority of the night). Next was the effervescent Platonica Erotica. She sat solo on stage in a white nightgown with flowing hair, resembling a Victorian water nymph. Full of emotion, she moved from behind the keyboard to sprawling herself on the floor, keeping the attention of an enthralled crowd. Trio gegenpress were recommended to us by Silkarmour back in March, where he described them as “a very powerful noise rock band”. They’re a formidable live act, a sentiment that appeared to be shared by the crowd as we heard whispers of how excited people were for their set long before they took to the stage. Despite switching things up by having a violin and cello string duo accompany them on stage, their sound was no less unforgiving with the strings adding extra bed and dynamics for breakdowns and quieter interludes. A mosh pit formed and as we were positioned to the front, we had to physically brace our bodies to prevent people falling on top of the sound guy who sat crouched to our right. This resulted in multiple crushed toes and beer soaked clothing but those are the battlescars that gigs like this bring. Adjourning outside for a cigarette – the other stages had concluded by this time, now in the throngs of night the warehouse illuminated as a beacon for all attendees to come through. The numbers had grown. A large crowd formed to see James Moss’s own band, the wheel 2! and we ended up squished against the sofa, with someone even climbing on top of the fridge to get a better look. The rest of the night went by in a blur, as the beers kept flowing and attendees ebbed and flowed. After nipping out for some fresh air and hearing a car windscreen get smashed, we decided it was time to turn in for the night, aware there was another day of music to follow. Due to prior commitments, we only managed to catch the latter end of Sunday and arrived once again under the bridge to quickly realise they were running almost an hour late. This meant we managed to catch Rhizocorp deliver an unexpected “wyrd disco” set. It was almost like being transported to a club in a sci-fi film and definitely something we’d look to see again in the future. Following was lttl mort, an act we missed during The Great Escape this year but who our friends had raved about. The solo project of Opus Kink’s Jazz Pope, with Velvetine‘s Nate Wicks on drums. Pope’s energy as he jumped around, fuelled on by the return of energy he was receiving from the crowd, made this feel worthy of a headline set. It was an intense couple of days, and we could only imagine how exhausted we’d been if we did all 3 – but that didn’t stop us wishing that we did. It felt like a truly special weekend, full of “you had to be there” moments and exciting performances. In the words of Platonica Erotica, who later posted this to her Instagram page: “I wanted to PREACH a little about just how alive these performances felt in a space full of engaged people sharing art with each other. Because it can feel so much like a rat race of who’s playing what when and why, and it’s so deeply BORING and it’s sure not for our benefit! I think I am bowled over by the fact
Ones to Watch: Soundhood East London 2026
Ones to Watch: Soundhood East London 2026 SON Estrella Galicia are bringing some of the best new artists to Hackney this coming weekend By Caitlin Taylor 21 September 2026 jo from school Delicate and endearing, jo from school’s music is like a hybrid of mary in the junkyard and beabadoobee’s early work. The Brit school alum released her debut album back in August and her headline show this month is already sold-out, so this is a great opportunity to catch her live. TNAM Recommends – ‘Julia Roberts’ thistle. We chatted to thistle. back during East London Block Party, just before they were invited to open the main stage for Deftones show at All Points East. They’re on a crazy roll when it comes to live performances and this may be one of the last chances you get to see their guitar-heavy sound live before they’re headlining. TNAM Recommends – ‘tied’ Toldos Verdes SON Estrella Galicia brought some Spanish bands over with them and our favourite is mullet-ed four-piece Toldos Verdes. Their sound is reminiscent of the noughties indie scene, as if The Wombats grew up in Barcelona. TNAM Recommends – ‘Me duele la cabeza’ Honeyglaze Honeyglaze have been making music for years now, and you can see their influence in some of the rising artists of the moment. Clever drumwork and melodic talk-singing create some beautiful theatrical songs that I can’t wait to see in-person. TNAM Recommends – ‘Ghost’ – Buy tickets here – You Might Also Like Recent Posts
Review: All Points East – Tyler, The Creator Takeover Day 2
REVIEW – All Points East – Tyler, The Creator Takeover Day 2 There were simply too many artists I wanted to see. [2027 Sign Up Link] Words by Niamh Hughes Header Image by Khali Ackford 20 September 2026 All Points East provided me with I think one of my favourite kinds of problems this year, there were simply too many artists I wanted to see. Tyler, the Creator may have been sitting at the top of the bill, but scattered beneath him were artists that I’ve wanted to see live for years, alongside others I’ve spent the past few months relentlessly recommending to anyone who will listen. My first stop however was someone I had not heard of. Jay Malakhi on the E3 Stage. I remember checking his bio on the app, it described how the rapper draws from both sides of the Atlantic, pairing the jaunty and bouncy flow of UK rap with soulful, US hip-hop-influenced instrumentals. While this description is certainly an accurate one, I was not expecting a full live band paired with three incredible backing singers to be accompanying him. This added a genuine energy to the live performance that had the crowd dancing remarkably early in the day. He then brought out Kojey Radical for an unreleased track which only heightened the excitement. It was an ambitious performance for one of the smaller stages, that early in the day but the crowd was packed. When discussing with my friend which act from both weekends we thought showed the most promise, this was the decided winner. From there, I headed to the East Stage for one of my most anticipated sets of the entire day: Dijon. This is the first of many artists on the lineup that I had wanted to see for years. His vocals were incredible throughout, especially when stretching into his upper register for ‘HIGHER!’. ‘Many Times’ and ‘Talk Down’ were performed slightly differently to the recordings, but this is not to say they were worse, just different. If anything, I enjoyed the slower paced performance of ‘Talk Down’. The absence of ‘The Dress’ was slightly painful, but there was more than enough to compensate. Dijon actually spent a surprising amount of the performance facing his band with his back to the crowd, something I would usually find frustrating. Yet here, I didn’t mind it. He did not seem uncomfortable, he simply seemed completely absorbed in making and performing music with the people around him. At times watching this genuinely felt like accidentally stumbling into a rehearsal or studio session between friends, with thousands of us collectively intruding on something strangely intimate. Next were two artists that I was desperate to see but as expected, just had to be on at the same time. But we made it work, splitting time evenly between both sets and running to the next stage, as a quick walk would mean missing too much. Both Dove Ellis and Faye Webster were artists I was initially quite surprised to see on the line-up, their music felt quite removed if I’m honest from what the rest of the bill were offering. There was no complaints, of course, like Dijon these are two people I had tried and failed to see in gigs the past years. I started with Dove Ellis, someone I’ve spent the majority of 2026 mentioning whenever anyone asks me for new music recommendations. Despite opening for Geese last year in, Dove Ellis is still relatively early into his career. Yet his music already feels so remarkably assured, drifting between folk and indie genres through unusual melodies and poetic lyricism. Live, he moved effortlessly between guitar and piano, which gives credit to his technical talent (virtuso you might say). The delicate ‘Pale Song’ gave way to newer material including ‘Mozart’, where harmonica and crashing drums created something far more turbulent. ‘I’ll Be Gone By Christmas’ brought everything back down again, and reminded me how brilliant his vocals are. The live performance provided me with one of those great “I was right” moments, it reassured me that he 100% deserved to be the name I put forward when people asked for a new music recommendation. Reluctantly, I did leave halfway through for Faye Webster. Even though her name on the line-up was another unexpected one for me, her crowd certainly hadn’t arrived accidentally. I think if anything, the fact that she was so different to a lot of the artists playing meant that everyone there was a fan. After every song the reaction was enormous, which in many ways contrasted brilliantly with her understated presence on stage. Her familiar dreamy and soft sound took over the entire crowd. What I loved is that everyone there was a fan, we all loved her and we all knew the lyrics. It was such a genuine and welcoming atmosphere to be a part of. Then was another sacrifice, Daniel Caesar for Montell Fish, aka DJ Gummy Bear (his alternative persona) on the X stage. Seeing all the video from Daniel Caeser’s set afterwards did give me considerable fomo, and I’m still umming and ahing about whether I made the right choice, but Fish’s DJ Gummy Bear set still makes a convincing case for my decision. I wasn’t really show what to expect, or what songs he would play, as most I knew were simply under the name Montell Fish. Either way, as DJ Gummy Bear he created an atmosphere that felt almost cinematic. It was intimate but intense, pushing the dreamlike R&B associated with his earlier music (what I will call Montell Fish music) into heavier territory, with these kind gritty rock textures and sounds appearing throughout. What stayed with me most though, was the vulnerability he had when performing, particularly when performing the songs that he released years ago as Montell Fish. In many ways, a lot of his songs are similar to those of Daniel Caeser, they both hold this vulnerability and rawness in their lyricism. Particularly songs
Review: Rally 2026
REVIEW – Rally 2026 Four perspectives on the art-school cool Southwark Park festival [RALLY Sign Up Link] Words by Caitlin Taylor, George Ginn & Jasmine Siefert Images by Caitlin Taylor and Eli Callingham 15 September 2026 For the past couple of years I’ve written extensively on my love for reasonably new London festival RALLY after I first attended back in 2024. It’s a testament to the love we all have for it that this year four members of our team ended up attending. The result is this article where we all share our thoughts on what we saw there which are, thankfully, all quite different. Read Caitlin, George and Jasmine’s opinions below: Walking into Mill House, I didn’t know what to expect from Nabihah Iqbal’s DJ set. Her energy reacquainted with her home crowd in Southwark Park the moment you step near the tent. As I entered the area, I was immediately blown away by all the classics she played. Her work as an artist and resident on NTS and The Lot Radio has carved out a unique environment for herself as a DJ whose selection encapsulates the music made for dancing from whatever genre, for all places across the world. “It was so fun to DJ for you all and I had to go deep with the British vibes cause there’s specific music that hits when you play in the UK, more than anywhere else in the world, and I just had to channel those feelings cause I’ve missed it!!!” – Nabihah Iqbal on Instagram Iqbal sent me to heaven at the end of her set when she pressed play on ‘Let’s Dance‘ by David Bowie. It truly showcased the reason why people attend RALLY Festival: being inspired by DIY culture and grassroots music, and celebrating London’s music and art communities. Jonny Rock has been a substantial backbone to London electronic underground music since the early 2000s. With far-reaching taste, each set highlights his pivotal legacy within the community. His sets can be anything from house, disco, funk, soul, and beyond, with tracks from familiar faces and friends sliding in old and new to keep the crowd going. His set at the Mill House was filled with uncut vinyl gems whilst the crowd did the movement and limbos. Last year, RALLY released a selection of mixes from the festival including Ben UFO, Courtesy, Sophie McAlister, and Vlada. If the same happens this year, I’ll be patiently waiting for Jonny Rock’s set to be uploaded. South-east Londoner Sam Akpro isn’t someone unrecognisable in the game or at RALLY Festival. With a string of well-acclaimed EPs and singles in recent years, compelling the sounds of dub, reggae, rock, and jazz, Akpro has become one of the brightest talents in the UK alternative scene. His 2025 album, Evenfall, showcased the disembodied voice of South London with an immersive sonic world. Akpro’s set alongside his band in the Skehan tent created a remarkable atmosphere, incorporating various elements of music and a fascinating range of influences including Joy Division, Sault, Dean Blunt, Cocteau Twins, and many more. Playing released and unreleased tracks, the set brought a real vibe to the Skehan tent, curated by James Massiah for those wanting something relaxing whilst sipping on their pints of Guinness. By George Ginn My day at RALLY started off gently. After letting a quick rain shower pass and acquiring a much needed frozen margarita, I headed straight to the Channel stage for Mark William Lewis’ set. Showcasing his signature blend of brooding vocals and Durutti Column-esque guitar, Lewis had the crowd in a mellow sway the whole time. Of course, it wouldn’t be a Mark William Lewis set without acknowledging the star of the show: the harmonica. That and the moments when he would turn to his band so they could feed off each other’s energy were real highlights and obvious crowd pleasers. After a second frozen margarita was acquired, the Agnes stage was my next stop. Vocalist and producer James K’s set felt like a spiritual experience. Armed with her Macbook, her microphone, and her fuzzy vocals alone, she commanded the stage and looked incredibly cool doing it. As fate would have it, the mist from the smoke machines paired perfectly with the light on-and-off downpours of rain; it felt like the Agnes stage became an ethereal dreamscape just for her. While this unpredictable weather did also seem to create some minor technical issues with the sound at times, none of these hindered James’ performance. Rounding off what otherwise felt like an aptly relaxed, spacey set, ‘Play‘ changed everything. The BPM increased and so did the crowd’s energy, culminating in a proper collective boogie at the end. It felt seriously unifying, From here, I floated between tents and seemingly bumping into everyone I have ever met, while also acquiring new friends along the way. Making a quick pit stop at YHWH Nailgun, I watched as people flung their bodies through the crowd to the band’s brutal hardcore sound. The sense of camaraderie at the festival this year felt special and, for me, was the warmest, most welcoming festival community I have been involved in all summer. It can sometimes be a challenge to pull a substantial, lively crowd when your performance clashes with the festival headliner’s set, and particularly if that headliner is the legendary Blood Orange. This, however, was no challenge for James Massiah as he set the Skehans tent ablaze with his dynamic electronic beats and confessional lyricism. Massiah’s energy was undoubtedly infectious. There was not a single person in that crowd who wasn’t dancing like no one was watching. The energy was so palpable, he simply had to hit the reload for ‘Soon Touch‘, which obviously got me and the rest of the crowd even more hyped. Riding the high off Massiah’s set, the second it finished, my friends and I ran back to the Channel stage just in time to catch Blood Orange’s moody anthems ‘Charcoal Baby‘ and ‘Champagne Coast‘.
TNAM Picks: RALLY 2026
← Back Festival Playlist,TNAM.UK Playlist RALLY 2026 A playlist featuring artists who played at the fourth edition of Southwark park festival RALLY. All Genres (Mix) {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts