LIDO feat. Charlie XCX 2025 Review – Is Brat Summer Over?
LIDO feat. Charlie XCX 2025 Review – Is Brat Summer Over? This was the day most people seemed hyped for in the LIDO lineup: Charli XCX was curating her own ‘partygirl’ festival on a Saturday in Victoria Park. By Caitlin Taylor It was sold out, incredibly busy and once again, way way too hot. At times, it felt reminiscent of an immersive theatre experience – many of the attendees were kitted in neon green clothing with various phrases in the classic brat font. We kept crossing paths with one group in particular, who were all wearing matching neon green mini bob wigs. It was truly surreal. We knew to avoid the Club stage after Outbreak the day previously, and it was a good idea as here the queues were even longer. It’s a shame, as we were excited to catch Rose Gray, who’s having a super interesting rise to fame at the moment, but we weren’t willing to miss any of the artists in a queue that looked like it would take an hour. Stage 2 was our favourite of the day. We’d kept pretty far from at Outbreak the day before as I bruise too easily to handle a mosh pit. Our first taste was Magdalena Bay, who could honestly be considered one of THE bands of 2024. Their album Imaginal Disk was a smash hit, and it was a treat to see them live despite the fact that we were so far back they looked like little insects to us, but to have such a large audience at such an early slot is to be admired. 070 Shake was next for us, and it’s rare to see someone so chill while performing on a festival’s main stage. She kept a smile on her face, strolling down the runway, joking around with the crowd. “I see you girl!” She shouted to everyone who got on someone else’s shoulders, encouraging others to do the same. She ended with a modified version of ‘Ghost Town’, which seemed to have the entire crowd singing along. Throwing her microphone into the crowd, she allowed her band to close out. Without exaggerating, it’s one of the best experiences I’ve had at a festival. After that was Kelly Lee Owens, a producer and electronic musician from Wales, a recent discovery for us, but one who is now firmly on our playlists. She held the crowd in the palm of her hand, equally as impressive vocally and on her synth. I would’ve been perfectly happy dancing to her all day; she managed to turn a circus tent in Victoria Park into a sweaty underground club. Over on the main stage, The Japanese House provided a much more relaxed moment in the day. It was a good time to grab some food and sit a little further back while listening to some gorgeous dreampop. She mentions that she is properly performing on home turf here, as she lived close enough to cycle. The next day, while scrolling TikTok, I discovered there was some drama about overcrowding during The Dare, meaning that half the crowd was stopped from coming in by security. However, as we’d arrived about 15 minutes early to his set, we remained blissfully unaware of this as we stood near the front of the stage. People were jumping up and down, getting off, eyes wide, singing along. His heavier songs hit better than his slower ones, which is to be expected at a ‘partygirl’ festival. ‘It girl’ of the last couple of years, PinkPantheress, appeared at the end to sing her new ‘American Boy’ inspired hit ‘Stateside’, which The Dare produced. He kindly held her bag during her set – what a gentleman. We stayed firmly planted here for Bladee, who came onto the stage with his hood up and a massive flag in his hand. As someone who’s been surrounded by drainers since moving to London, it felt a little bizarre that many had no idea who he was, but to loyal fans, it was clear this was a special moment as he closed his set by bringing out Ecco2k to perform their new song. And then finally, of course, Charli XCX was on the main stage. Providing a theatrical performance full of flashy visuals, choreographed dance pieces and even rain, the crowd were fixated on her every move. It became clear that most were newer fans as the audience was surprisingly quiet during her older hit ‘Vroom Vroom’, but the energy was at an all-time high during her brat tracks and the Barbie movie hit ‘Speed Drive’. She brought AG Cook and Bladee out as guests, and once again, the crowd seemed a little lost. We ended up having to explain who they were to the group next to us, but hopefully, it does something to spread hyperpop awareness to the masses. As she’s done previously, she finished by allowing her visuals to speak for her. “I want this to last forever”, they read, “it wasn’t just a summer thing… it’s a forever thing xx” and so far, with Charli’s shows only rising in popularity, it seems like that may be the case.
OUTBREAK 2025 Review – Hot Sticky Hardcore
OUTBREAK 2025 Review – Hot Sticky Hardcore It was a swelteringly hot Friday, not ideal weather for heavy cotton band shirts and mosh pits, but that wasn’t going to deter any of the attendees of Outbreak festival. 2 July 2025 By Caitlin Taylor Momma was the first band we encountered on the main stage. They’re straight out of a 00s teen film soundtrack, accentuated by the duo’s strong American twang. Like most of the American acts who came over for the day, they were shocked by the heat but still managed to provide a fun set. Fleshwater followed, more on the hardcore side, with heavy guitars and bold vocals. “I want the biggest circle in the world!’ yelled a member of the band, which the British audience were initially hesitant to do, maybe due to the heat, but they eventually caught the drift. The one criticism we really had was the capacity of The Club Stage, as we didn’t manage to get in at all. We were incredibly keen to catch both feeble little horse and Jane Remover, but due to being faced with a queue that seemed to curl back around itself endlessly, we ended up just standing near the entrance and trying desperately to catch what we could. Next, we had Julie, who was our highlight of the day. They began by playing a video of someone playing the cello, which broke down as the band walked onstage. We likened them to Bar Italia’s little American cousins, lacking the nonchalance of the European indie darlings, which isn’t a negative. At times reminiscent of Nirvana, their drum work was particularly impressive. Definitely one to check out. Closing out there was a characteristically excellent set from lo-fi indie king Alex G, which featured some deep cuts and mental instrumentation we were big fans of, followed by Turnstile, a band who’ve blown up massively over the past year. A momentous ending full of moshing and jumping around, insane that most had energy after the 30-degree temperatures. It was an impressive London launch for Outbreak, with a really great selection of both hardcore and shoegaze artists. We’re already excited for next year! You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
LIDO 2025 – Weekend 2 Ones to Watch
OUTBREAK 2025 Ones to Watch – LIDO Weekend 2 Weekend one was a success, and weekend two looks to be even greater. 15 June 2025 By Caitlin Taylor We missed LIDO weekend one, don’t remind us. The Jamie XX and Skrillex B2B out the sound desk and Massive Attack’s statements have been the talk of the town for the last week so there was no way we were missing this coming weekend. With 3 days of drastically different sounds, there’s truly something here for everyone. FRIDAY 13th JUNE – OUTBREAK Kumo 99 2:35pm @ Stage 2 Starting off strong, Kumo 99 are the first to take the stage at Outbreak. They’re high energy, a brilliant blend of punk and electronic. Check out their Coachella set from earlier this year if you want a taster. My only complaint is that they’re on way too early, but you can catch them later at Colour Factory too. feeble little horse 3:40pm @ The Club If you’ve not heard of this indie rock group, they just gave a banging performance at Primavera and have been backed by So Young so you know they’re cool. Perfect for fans of Pavement or Pixies. Jane Remover 4:40pm @ The Club Hyper and intense, Jane’s music is perfect to get you ready for the hardcore stuff happening later on. If you’ve been enjoying 2Hollis’s recent releases, this is one for you. SATURDAY 14th JUNE – PARTY GIRL The Japanese House 5:45pm @ Main Stage A veteran of queer indie music, she hit the mainstream last year after appearing as a feature on Charli XCX’s Brat remix album and collaborating with Fred Again. Her solo stuff is where she truly shines though, give her last album ‘In The End It Always Does’ a proper listen. Rose Gray 6pm @ The Club Well on her way to being the new it girl, Rose Gray just released her debut album this past January. She’s 2025’s answer to Kylie Minogue with super fun, catchy beats that’ll get stuck in your head. Not one to miss. SUNDAY 15th JUNE Pip Millett I have loved Pip Millett since 2018, she’s truly a special artist. Smooth RnB with cheeky lyrics, her latest single ‘Tell Jimmy I’m Fine’ is a perfect example. Clementine Douglas A truly brilliant dance vocalist who’s featured on tracks with juggernauts including David Guetta, Calvin Harris, and Chase and Status. If you love a strong voice and catchy hooks, Clementine is definitely one to add to your must-sees. Wasia Project This sibling duo started making music in their teens and have now grown as artists, making thoughtful and delicate tracks with a focus on instrumentation. They’re still early in their careers, and one to check out if you’re a fan of music that feels genuine. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
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 ⋆⭒˚.⋆
New Single: Lip Filler ‘Laugh Track’
New Single: Lip Filler ‘Laugh Track’ Lip Filler prove indie-rock is no laughing matter with their new single ‘Laugh Track’ By Beth Gullliver Currently Listening to: Lip Filler’s new track is perfect in its unpredictability. The band, who first performed together on St Patrick’s Day in 2022, pride themselves on surprising the listener in live performances and in the studio, and ‘Laugh Track’ continues to encapsulate that energy. It’s fresh, sonically different to their previous EP ‘‘witchescrew’, and demonstrates the band’s willingness to experiment with genre-blending sounds. The south-east London quintet consists of Jude Scholefield and Verity Hughes on vocals and guitar, bassist Theodore Pasmore, Nate Wicks on drums and George Tucker who plays the keyboard and has adopted a front-man energy on vocals. Lip Filler met at various points throughout their education which explains why their musical chemistry is so tight. ‘Laugh Track’ is confident and begins with no instrumental, instead launching straight in with the lyric ‘Taking time to heal/ So, you’re dancing in the street/ To a silent song’. The indie-rock anthem builds to a deliciously whiny chorus of: ‘And it’s melting off/ In a drip/ On your block’. A stand-out lyric penned by the band and produced by St Francis Hotel – Declan Gaffney – is: ‘You’re turning all your pain into miracles/ It’s uglier than beautiful’. NME previously wrote: “Lip Filler have developed a reputation as a rowdy, sunny-side-up indie band imbuing their sound and their shows with pure chaos” – a notion that continues in their latest release. The track is likely to reach a fever-pitch live, with soaring vocals and an infectious beat that will please the band’s devoted fansbase. Lip Filler previously sold out multiple venues across London (including a gig hosted in their flat) and are set to perform across the country throughout April. If you want to witness their incredible energy live, be quick – you won’t want to miss the band’s rise to the top of London’s indie-rock scene. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
‘I Wanted People to Feel Like They Were Looking Into My World’: An Interview with Clara Mann on Her Debut Album Rift
‘I Wanted People to Feel Like They Were Looking Into My World’: An Interview with Clara Mann on Her Debut Album Rift I have always admired artists who have a clear vision of what they want their music to say. Such a quality could not be truer than for singer-songwriter Clara Mann, whose debut album Rift offers genuine vulnerability and intelligent self-reflections. By Sophie Prior Currently Listening to: As I joined the call and sat down to speak with Clara, I had a list of questions ready to be asked in their pre-set order. Immediately upon exchanging our hellos, I was met by Clara’s warmness and lightness which completely calmed me and changed what I had anticipated to be a question-and-answer style interview into an insightful and free-flowing conversation. Rift was released on the 7th of March, after what I found out to be a long but rewarding writing and recording process. ‘How do you feel about the album being out?’, I initially asked. ‘It feels quite emotional […], seeing other people carrying the songs with them rather than just me carrying them’, Clara replied. ‘It’s quite a weird feeling, carrying a project like that and now it’s just suddenly out in the world? I feel like I’m in free foil […], like I’ve just jumped out of a plane and I’m falling, not in a bad way though’, Clara laughs. Part of what drew me to Clara’s music was her gift of storytelling and the poeticness of her words. When I asked Clara what the album meant to her, she replied with the same lyrical elegance that you find in her music. ‘The album was a way of accepting a lot of sadness and things that I felt were broken that I knew would never be mended to look the same way as before they were broken […], and accepting that things change and loving things in their reassembled shapes, or trying to’. She told me that the record was a way of processing the contradictions that she has within herself; the rift which reveals both the light and dark parts of her being. ‘I wanted people to feel like they were looking into my world’. Intimacy is found in Clara’s lyrics but is also found in the album’s production. With minimal instrumentation – only piano, guitar and a soft beat on occasion – supporting Clara’s voice, I was intrigued as to whether this was done on purpose. ‘The songs need to stand on their own’, Clara tells me. ‘I’m not trying to hide behind instrumentation, not behind more than I already am in metaphor lyrically’, she continues. Another reason for the minimal instrumentation is that Clara tours solo with no band, and so replicates the album live by accompanying herself on the piano and guitar, switching between instruments throughout the show. Before chatting to Clara, I knew of her classical upbringing, but was eager to know more. Clara was a classical pianist growing up, completing all her grades and teaching while she was still a teenager, as well as singing in choirs. I wondered how Clara transitioned from the classical world to the one she has now found with Rift. ‘When I was about sixteen, one day I just thought to myself, I don’t actually enjoy this anymore […], I still love classical music, but I found that the world can be quite restrictive. Clara recounted how she used to get so nervous before giving a piano recital that her knees would shake, which interestingly never happened when she sang, which her little sister pointed out after watching Clara give her first-ever gig. ‘Playing and singing live is the most me I feel […], the most uninhibited I feel’. Clara will be touring throughout April and May, with headline tours in London, Edinburgh, Manchester and Bristol. The album comprises ten tracks, delicately crafted to show every nuance of Clara’s voice. ‘Do you have a favourite track on the album?’, I asked as a closing question. ‘It changes, but I’m really excited to play the piano tracks towards the end of the set, like The Dream’, Clara told me. ‘It feels like coming home’. Listening to the track, one can’t help but notice the tone of the piano, which is mellow and rustic; I can imagine Clara playing an ageing piano, each strike she makes bringing out and adding to the instrument’s history. The rawness of the music is beautiful. Rift is streaming on all platforms now. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
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.
*✦⋆ Interview ⋆✦⋆ Honeyblood
*✦⋆ Interview ⋆✦⋆ Honeyblood A Q&A with Honeyblood as part of the 10-year anniversary tour of her debut album 04.06.24 Words by Nat Kossyvaki https://www.youtube.com/watch?v=DJBZnDPgOv8 Ahead of her show at Oslo, Hackney last week, I spoke with the Scottish indie-rock artist Honeyblood aka Stina about her ongoing UK tour and reuniting with her old bandmates. A decade after the release of her self-titled debut album which marked the beginning of her signature artistic path, Stina goes on the road again to celebrate with her trusted fans; she looks back to her creative journey and prepares us for an exciting new album, currently in the works! You’re currently on your UK tour celebrating 10 years since the release of your debut ‘Honeyblood’. You started from Newcastle, you played London this Thursday and then you’re going to Cardiff, Nottingham and Glasgow and in June you’ve got another show in Glasgow, a pretty special one with the Foo Fighters and Courtney Barnett. How does it feel to be on tour again after so long? It’s actually been really overwhelming. Some really amazing moments too! But touring has become really hard for a lot of bands in the past few years post-COVID, and this is the first time my band and I are truly getting back on the horse. And no pressure about that great big gig in two weeks. I’m having a mini anxiety attack every day even thinking about it! What’s your favourite thing about touring? My favourite thing about touring is the comradery between me and my band and crew, and the audience. It really does feel like you’re in a little universe together. It’s been 10 years since you released your debut album ‘Honeyblood’! How does that feel and are you excited to celebrate it with everyone on this tour? And especially to reunite with your old bandmates! It’s been dead emotional for me and a lot of fans too. I wish I had more time to speak to everyone after the show about the stories they have tied to this record. It’s been a long decade for us all! When you recorded your debut album back in 2014, did you ever expect it to bring you where you are now? In short, no. I can’t remember what I was thinking then, I think I was just buckled in for the ride. Now, things are very different. I feel privileged to sing these songs for folks, and that they still care about them. So much of the music industry these days seems momentary. Playing an album that came out ten years ago is the opposite of that. If you could go back, would you change anything about it? I wouldn’t change anything about it. It was a great introduction to recording an album, which I had never done before. I owe Peter Katis a lot. I have only happy memories of that time. What do you think has changed in the music industry in those past 10 years based on your experience? Of course things have changed dramatically. Streaming becoming such a focal point has changed so much. But we are doing this reissue vinyl, and it looks gorgeous. I love that vinyl is still something that audiences care about. Artists and labels put a lot of care into making something beautiful and music fans appreciate that. So you’re playing the whole album on this tour. When was the last time you played all of those songs live? About ten years ago, one time only – on album release day! I doubt I ever played them all again. So it’s been so great to do that. Although, it took me a wee while to remember exactly how some of them go! Your most recent album ‘In Plain Sight’ was a pivotal turning point in your music journey, as you took full control of this purely solo experimental project and it introduced a new era for Honeyblood. How would you describe your sound now if you were to compare it to your 2 previous albums? I’m making a new album now and have been crafting it for about 3 years. It’s been the longest time I’ve spent on a project. I feel like ‘In Plain Sight’ was the windbreaker for what came before, and set me free in a creative sense. However, this new album I’m working on is tied to this debut so much. It’s got parts of each album that came before running through it, and for that it feels like my most definitive work. I’m pretty sure you have a new album dropping soon. Can you tell me a little bit about that, what should we expect? Not soon, but it’s in the works. Let’s just say, it’s gonna be worth the wait! You Might Also Like
ˑ༄ؘ ۪۪۫۫ ▹▫◃ ۪۪۫۫ ༄ؘ ˑ New Single Release ˑ༄ؘ ۪۪۫۫ ▹▫◃ ۪۪۫۫ ༄ؘ ˑ: HONEYMOAN ‘Penny Sleeps’
ˑ༄ؘ ۪۪۫۫ ▹▫◃ ۪۪۫۫ ༄ؘ ˑ New Single Release ˑ༄ؘ ۪۪۫۫ ▹▫◃ ۪۪۫۫ ༄ؘ ˑ: HONEYMOAN ‘Penny Sleeps’ HONEYMOAN explores the struggles of mental health and self improvement with unique vocals and amazing backing instrumentals. 30.04.24 Words by Jamie Shovelin https://www.youtube.com/watch?v=E55yYkEu-PQ Penny Sleeps is HONEYMOAN’s most recent release of 2024 and while keeping in similar sound to their previous songs, this single feels just that little bit more special. If this is what we are to expect from the band in 2024, then we are very excited. This single is about how fragile mental health is and how we cope with it. Talking about new thinly vailed ways that people try and get their lives together. A whole verse of the song pokes fun on the new wave of selfcare on social media, particularly the line “Try take up more space is what astrologers on TikTok say.”. The whole song discusses how these faint attempts we make to better ourselves rarely last long. The chorus of the song is essentially drilling into your head that all of these small attempts to better yourself, yeah, they can help in the short term but after a little knock it will all come down. This song conveys perfectly what so many people are feeling right now and trying to fix. The lyrics of the song are not the only thing that conveys this either. Throughout the whole song you have distorted vocals and guitar riffs. This isn’t new to HONEYMOAN. Previous songs such as ‘Show you off’ or ‘Pickup, Don’t Pick up’ also have something similar going on, but with this song it just adds that’s extra bit to the meaning. The distortion of the music gives another meaning to the song, you aren’t just hearing what the songs about, but you are also feeling it. Anyone familiar with what emotions this song is about will know what it feels like, and even though it’s different for everyone, a lot will tell you it feels a lot like this instrumental (Even though the instrumental sounds a lot better). View this post on Instagram A post shared by HONEYMOAN (@honeymoanband) You Might Also Like
˚₊‧꒰ა ˚New Single Release ⋆☆ ｡: Ugly (UK) “Shepherd’s Carol”
˚₊‧꒰ა ˚New Single Release ⋆☆ ｡: Ugly (UK) “Shepherd’s Carol” Ugly (UK) showcases their rich vocals in their latest single 11.03.24 Words by Mylo Castagnaro https://www.youtube.com/watch?v=zz8ou1LAi0Q Ugly (UK) is a London-based band originally from Cambridge. They take inspiration from 60s and 70s classic rock bands and combine it with their unique, alternative sound. Ugly just released their final single ‘Shepherd’s Carol’ before their debut EP titled ‘Twice Around The Sun’. They have been teasing fans with their tracks since 2022 and are most known for their experimental and always-changing music influenced by choral, post-rock tunes. Shepherd’s Carol instantly takes you in with a familiar melody, echoing memories of folk-rock instrumental sounds. This melodic bliss lasts for an entire minute before words take over. The vocals are incredible, founded on rich and intricate harmonies that are accompanied by hints of choral influences. The strong instrumental melody returns at the end of the song, almost overshadowing the band’s voices. The production has a hopeful rock sound throughout, reminiscent of A.C. Newman’s Prophets, leaving the listener anticipating what is to come. Ugly (UK) describes Shepherd’s Carol’s lyrics as a play with ‘pastoral and sinister themes’, adding a more humorous and playful tone to it. The lyrics paint a picture of a struggling, working-class family, unable to feed their children and animals. Even through its dark themes, the final lyrics of this single manage to convey a strong messaging of hope, striving to ‘kill the madame who takes my darkest hour’. Like many of their songs, it is difficult to pinpoint where the exact inspiration came from. A sentiment that is reflected in the song’s overall sound. The listener is challenged to decipher what they are listening to as all the vocals and instruments form a purposely ambiguous, yet playful sound. An exciting experience that the band hopes to recreate in their upcoming EP. View this post on Instagram A post shared by ugly (@uglyofficialuk) You Might Also Like