Big Long Sun 01.08.25 – I don’t normally start a gig with a drum in hand.
big long sun 01.08.25 – I don’t normally start a gig with a drum in hand. For one I can’t play an instrument, for two I’m medically exempt from hard work between 4pm and 11am. By Tom Freeman Contribution by Isla Mcrobbie 15 October 2025 This was no normal pub gig. We’d traipsed across London to see big long sun, but fresh out the Uber instrument cases coated across the street, cigarettes and glum faces meant something was off. Electrical complications during the main support left no option but for the bedroom-neo-psychedelia solo project of Jamie Broughton and his octensemble (or eight piece collective) to cancel their first London headline show. Displaced on a Friday evening in the middle of Camden Town, the devastation to the band was evident…but their determination to play was in no doubt commendable. Against time and the cabaret of penned events across the strip our hope was bleeding out. We kicked around whilst their promoter and our editor legged it across pubs, holding the phone on loudspeaker with hope of an update. While the band remained anchored by the equipment which could not be abandoned. How could we ever doubt that in the spirit of Camden Town, the show must go on. Cue the mad dash. 20 volunteers collected stands and pedals. My arms embraced in a kick drum while we belted 400 yards down the road to Lock Tavern. John (promoter) and I (bystander) made a mad dash back to the old pub to rally, cajole and convince gig-goers to trek down to the new stage. We even picked up a few extras who liked the craic of it. Three flights of stairs later, we pushed tables disrupting all peace set out by unsuspecting pint sippers, their space now pulsating with excited chatter of an evenings catharsis. Sound check? Doesn’t matter, Big Long Sun grabbed the mic, grabbed the tambourine and went for it. No stage, no problem. We had come to expect a lot from the Brighton band, each show on this tour seemingly a heel scraping stop before bolting off elsewhere in the UK to share their joy. Red hot from their second album whatever (whatever) on Miohmi records the band have seen modest, humble and underrated growth for the time being, reaching highlights such as support from Nathan Shepherd in session with BBC 6 Music. Core bedroom-rock performances included “a casual dance between friends” and “when the moods right”. The album’s feeling of free-spirited self-expression translated perfectly with the DIY nature of the situation. We had all found ourselves tightly knitted in. However a dearly noticeable gap was apparent with the absence of band member Ocean Groucher who classically handles the staple megaphone incursion their performances are becoming known for. Hand in hand this circle of talent is perplexing in its psych nostalgic trip carried by an intricate and youthful bunch. The team at TNAM.UK are proud to solidify ourselves within the “We were here first” department of big long sun’s fanbase. Great gig, great band and one really handsome fucker carrying a drum. You can catch big long sun back in London Wed, 29 Oct, 7:30 pm headlining the wonderful Sebright Arms. View this post on Instagram A post shared by FIND JOY. (@findjoy__) You Might Also Like Recent Posts
࣪ ⭒⋆. New Single Release ˚˖✮⋆: Chloe Slater “Nothing Shines On This Island”
࣪ ⭒⋆. New Single Release ˚˖✮⋆ Chloe Slater “Nothing Shines On This Island” Fresh off the back of her viral single “24 hours” and taken from her forthcoming debut EP, You Can’t Put A Price On Fun, Manchester-based Chloe Slater returns with another cutting and contemporary critique. 19.04.24 Words by Rowan Driver https://www.youtube.com/watch?v=W9YZLPxhkGU The song is centred around Slater’s discontent with modern British politics and the class system which continues to pervade the British social landscape. Her punchy lyrics touch on issues which have been at the forefront of the political discourse in recent years, including Brexit, climate change and the cost of living crisis, as well as notions of privilege and material wealth – the title itself is a reflection of the bleak atmosphere which Slater perceives to loom over the country in an era of post-pandemic uncertainty. Her DIY indie rock style demonstrates anarchistic qualities, with a volatility that only serves to mirror the frustration and desperation she articulates in her lyrics. Gritty and empowering, she delivers these matter-of-factly, listing all the broken cogs in an inherently flawed system. “I wonder what they taught you in your PPE degree”: Slater also goads political frontrunners, a large proportion of which are renowned for having studied the coveted course. “Do you get guilty?” she asks, bluntly attributing a level of blame. Slater has previously drawn on ideas surrounding socio-economic disparities and privilege in “24 hours”, which discusses the prevalence of modern influencer culture in society. It seems 20-year-old Slater is not quite finished when it comes to making her mark with her fervently politicised takes on young adulthood, cultivating a likeminded community who share her sentiments. Like her previous single, Slater’s latest drop has been co-written and produced by Jack Shuter, with mixing and mastering by Nathan Boddy and Kevin Tuffy respectively. The full EP is currently slated for release on 23 May, but until then, “Nothing Shines On This Island” is available to stream across all platforms. View this post on Instagram A post shared by Chloe Slater (@chloeslater333) You Might Also Like
••° New Single Release ° . : Maripool “Not Today”
••° New Single Release ° . : Maripool “Not Today” A dynamic comeback for the ‘one-girl-band’. Maripool shares an intimate new release after a two-year break. 15.04.24 Words by Nat Kossyvaki https://www.youtube.com/watch?v=T-nnZ7Ah114 Maripool returns with a powerful statement track, after a 2 year break from releasing music. Not Today signifies the first teaser of her upcoming second EP a day that feels like nothing at all scheduled to be released on June 7th. Hailing from Lisbon and based in London, the self-claimed ‘one-girl-band’ Maripool (aka Natacha Simões) made her breakthrough in 2021 introducing her signature DIY lofi-bedroom rock sound which received recognition from Clash, DIY, So Young etc. and earned her spots at festivals like Left of the Dial and Wide Awake. Now, 2024 sees her signing to Californian indie label Smoking Room and announcing a brand new EP! On Not Today we witness Maripool retaining her DIY grungy intimate sound in ablend of dreamy violins and shimmering synths. In this new creative era, Simões makes it clear that she is confident in her vulnerability and explores a more mature sound of hers. Not Today brings out a bittersweet melancholic taste, yet in a wayliberating; and explores the emotional state of feeling trapped inside an ongoing dull monotony, where nothing ever changes. Simões explains: “It’s a song about when everything around you is bringing youdown. When the days roll into one another, nothing ever changing.” Undoubtedly, an excellent choice of track to introduce us to her upcoming new work and to sincerely capture the reality of a rather disregarded but very frightening and common feeling. Maripool’s new EP a day that feels like nothing at all will be out on June 7th, available to stream everywhere. View this post on Instagram A post shared by Maripool (@maripool__) You Might Also Like
Debut Single Release + Acoustic Session: Grack Mack & the Pack “Mundane Sundays”
Debut Single Release + Acoustic Session: Grack Mack & the Pack “Mundane Sundays” Grack Mack & The Pack’s debut single ‘Mundane Sunday’s’ captures that universal feeling that you’ve never fully felt like yourself in the place you grew up in. 22.01.24 Words by Zofia Elliott https://www.youtube.com/watch?v=kmhepZ3SZU4 Written from the perspective of how frontwoman Grace Mackenzie used to spend her Sundays in her hometown, she laments about waking up, going to church and despite it being comfortable, she always felt like two different people. Starting with a mellow intro and relatable lyrics; “I want to save money when I go out, so I can afford a new guitar, but I can’t afford anything right now…” ..It quickly transitions into a classic yet groovy indie sound accompanied by Grace Mackenzies’ lilting vocals. Reminiscent of ‘Snail Mail’ and with the lyrical quality of a boygenius track, the song is delightfully nostalgic whilst maintaining a fresh sound that keeps it rotating in your playlist. Mundane Sunday’s is the perfect dance-around-your-bedroom tune or sparkling summer (slightly drunk in a field with your mates) festival number. Pairing introspective lyrics with a high energy sound seems like a dream combination for this upcoming band and for their debut single is accomplished pretty perfectly. Formed in Bristol in 2022 Grace, Connor, Will and Manashe, the four that make up Grack Mack & The Pack, have spent a considerable amount of time gigging around Bristol and also played Swansea Music Hub at the start of 2023. This year they’ve already played supporting slots for Burning Juniper and Battery Point, playing their first release a little bit early for the lucky audiences! 2024 will see them continue to play exciting live shows as well as more new releases, visual content and simultaneously working on an EP. https://www.youtube.com/watch?v=iTjtAWhpnKc Grack Mack & The Pack perform their debut release ‘Mundane Sunday’s’ in this new acoustic session exclusively for The New Age Magazine. Filmed on familiar ground: The Castle Park, Bristol they wrap warm and bring us a softer, acoustic version of ‘Mundane Sunday’s.’ View this post on Instagram A post shared by Grack Mack & The Pack (@grackmackandthepack) You Might Also Like
New Single Release: Lucy McWilliams “Follow Me”
New Single Release: Lucy McWilliams “Follow Me” Lucy McWilliams mesmerises us with her new love song 12.01.24 Words by Mylo Castagnaro https://www.youtube.com/watch?v=Kraq-6Z2r94 Lucy McWilliams is a singer-songwriter from Dublin. In her first single titled ‘Fair Play’, she collaborated with another Irish artist, Malaki, and their song has reached over one million streams. According to McWilliams, her latest single ‘Follow Me’ is at its core ‘just a straightforward love song’. The lyrics tell the story of someone who has gone through many loves, hoping their current love will be their last. Imagine you feel lost, only longing to be found by the one you love and wishing they would take you ‘somewhere we can call home’. That is the setting for McWilliams’ song. As the title suggests, the chorus rather longingly, yet with a touch of desperation, wishes their loved one would follow them and ‘just stay’ with them. The words convey an honest insecurity, continuously wondering if the other person cares as much. This sentiment is exemplified in the second verse, which states ‘I feel so damn empty when you’re gone’. However, the melody and sound of ‘Follow Me’ are juxtaposed to its text. While the soft music is at times melancholic, it takes a joyful turn, especially during the chorus. It creates a hopeful tone to the desperation found in Lucy McWilliams’ lyrics. The song captures a paradoxical feeling, being insecure but simultaneously hoping your love will last forever. Only towards the end of ‘Follow Me’ does the singer acknowledge her confidence in their relationship. The first verse is repeated but with a slight change. Instead of asking to be taught how to love, McWilliams confidently states ‘You can teach me how’, being secure enough that this third second chance will finally be her last. As the chorus is sung one more time, we are left feeling more hopeful for their love – a beautiful, hopelessly romantic journey the talented Lucy McWilliams takes us on. View this post on Instagram A post shared by Lucyyyy (@lucymcwilliams_) You Might Also Like Bedroom, Dublin, Indie, Indie Pop, Lucy McWilliams, New Releases, On the Rise, Single
INTERVIEW – Mollie Coddled @ Manchester’s Year’s End Festival
Photo by Kyle Roczniak INTERVIEW – Mollie Coddled @ Manchester’s Year’s End Festival “I’m sweating my tits off! Don’t wear knitwear on stage.” Sound advice. 14.12.23 Words by Will Knights Arguably the best dressed (or most overdressed) act at Manchester’s Year’s End Festival, Mollie Coddled owned her unique display of intimate indie pop clad in a stylish knit hood. The staunch honesty of her music and effervescent live performance creates a whole new world through the candour of her lyrics. Everyone’s friends at a Mollie Coddled show – so much so that she recognised someone in the crowd halfway through her set. Flanked by her band, Liv and Luke, in the smoking area of the Deaf Institute (with accompanying Mancunian weather), we caught up with the Leeds-based performer as she reflected on 2023. This has been a big year for you, playing Leeds Festival, supporting Ellie Dixon on her tour, what’s been your highlight? To be fair, the tour with Ellie Dixon was really cool, when we played in London, that was the biggest venue we’ve ever played. It was almost a thousand people which was pretty cool because I’m just from a farm, y’know what I mean? How did that tour come about? So, a little bit of backstory – me and Ellie are internet friends through posting Easy Life covers and we messaged each other like “what the fuck, we keep covering the same songs”, so we became friends and she had me on her tour which was really sweet of her. It was the most welcoming experience to be on tour with her because she’s so lovely. What have you got planned for 2024? New music – lots of it. I’ve been working on it for a long time so I’m very excited to finally put it out and hopefully another tour towards the end of the year and some more headline shows. Photo by Kyle Roczniak You’re a very DIY artist and self-produce your music – walk us through your creative process. It mainly consists of crying! I guess writing songs is like journalling, and getting out your emotions and all your trauma out on paper so you don’t have to think about it. It’s like ranting to someone and sending a message except you don’t send it to someone, you play it to loads of people on a stage instead, which is probably worse, but here we are. You’re very open about being neurodivergent, what is it like being neurodivergent in the music industry? I feel like a lot more people than you’d realise are neurodivergent in music but the don’t talk about it or don’t realise it, they just think they’re creative. Most of the musicians I know are also really weird, we’re all really weird not going to lie [laughter]. It’s hard sometimes because getting on a stage is really anxiety inducing but it makes it well worth it at the end of the gig when people come up to you and tell you they enjoyed it or related to the songs. It affirms you that you’re doing the right thing by playing to people because sometimes you don’t want to talk about these kinds of things to someone in person but when people say they relate to it, that makes it all worth it. It’s easier to say it to no one and then say it to everyone rather than one specific person too. Photo by Kyle Roczniak Your personal life and professional life must mix a lot, do you find you have to separate them? It’s really hard not to think about music all the time, especially having autism, when people ask me what my hobbies are, I say music because it might be my job but it’s still what I do in all my spare time. It’s all I think about so it’s difficult sometimes to turn your brain off from it but it’s my life. What do you think can be done to remove the barriers that women face in the music industry? Even though there is progression, there’s still a lot of negative energy toward women and people of marginalised genders in the music industry from the patriarchy. Even male sound engineers or male bands that might be on the same bill as you don’t always give the support or the kind interaction that they could give you. Sometimes you get underestimated and that’s a very widely shared experienced between women and non-binary people in the music industry. There’s a lot more support for getting women and non-binary people on lineups now which is nice, but it is the bare minimum. A lot more can be done within the industry so people change the way they interact with women and non-binary and trans people to be more welcoming because it’s scary when you’re in that marginalised community because you don’t know how people will treat you. View this post on Instagram A post shared by ❁ mollie coddled ❁ (@mollieiscoddled) You Might Also Like
NEW SINGLE RELEASE – Home Counties ‘Wild Guess’
NEW SINGLE RELEASE – Home Counties ‘Wild Guess’ Indie-fans, we have good news for you: The London-based band Home Counties is back with a new single and a new album announcement! 04.12.23 Words by Céline Galletti https://www.youtube.com/watch?v=o2wEIO047ec Their new song “Wild Guess” is not afraid to experiment: synth music, guitar, rhythmic beats and soft vocals are married together to produce an irresistibly catchy rhythm. At points, the amalgamation of different sounds will be almost cacophonical, but the band manages to make it all work perfectly together and create a very rich musical universe. Clapping, maracas, whistles, soft percussions, choruses and synthetics give rhythm to the main singing voices, a male/female duo that harmonises together beautifully. I challenge anyone to try not to dance along, I guarantee that it will be extremely difficult. But don’t get fooled by the cheerful rhythm, as the lyrics are drastically more bitter. The band reportedly wanted to give voice to the shared fears of young generations by exploring their own various anxieties. They ask us the enigmatic question “In what way do you suffer?”, giving for granted that we are in fact suffering, and inciting us to name our fears. They talk about the fear of old age, of life passing you by, of financial responsibility and phone addiction, and create a parallelism with ecological catastrophes, thus echoing a lingering ecological anxiety: “Like a river full of dirt, I’m hurt, has we burn”. The tonal contrast between the lyrics and the rhythm creates a bittersweet ironical tone: after all, it is better to sing about your problems than cry about them. Home Counties are the voice of a generation, and what a harmonious voice that is. Their full EP “Exactly as it seems” comes out on the 3rd of May 2024, and they will be touring in the UK from the 7th of May onwards. This marks their comeback after a couple years off the radar, and the band is clearly fresh of new ideas and creative inspiration. Give them a look if you want something to brighten up your winter playlist, and keep up with their newest updates on their Instagram @homecountiesband. You Might Also Like
NEW SINGLE RELEASE – Melanie Baker ‘All My Plants Have Died’
NEW SINGLE RELEASE – Melanie Baker ‘All My Plants Have Died’ 28.11.23 Words by Rowan Christina Driver Newcastle-based singer-songwriter Melanie Baker is back with a brand-new track, ‘All My Plants Have Died’. https://www.youtube.com/watch?v=5S8MPyTfJT0 Having recently joined indie record label Daemon TV, the track marks Baker’s return to releasing for the first time since last June’s haunting ode to drained social batteries, ‘Waiting List’. Like ’Waiting List’, Baker explores the reality of reaching burnout – hitting an involuntary pause while the world continues around us. From the texts we leave unopened, to the plants that wither from neglect, there are very few who cannot identify with the feeling of getting caught up in the fast pace of modern reality, often at the expense of our own psyche. “As much as it’s a song about not being able to look after your plants very well,” Baker explained on social media, “it’s also about trying to keep up with the chaos of life”. Baker’s lyrics are, characteristically, steeped in duality – her introspective approach to song-writing often makes for unadulterated honesty and something that is intrinsically human. Baker is known for broaching themes of mental health, identity and self-exploration, and her latest single is no different. Sonically though, Baker has taken a different path. Baker embodies a new style entirely in ‘All My Plants Have Died’ – where she has often favoured subtlety, toying with melodic piano accompaniments and soaring orchestral symphonies, Baker has instead opted for fuzzy guitar riffs and frantic percussion. The themes of her lyricism may not be unfamiliar, but the frenzied rocky soundscape of her production explores previously uncharted territory – a messy, as opposed to mellow, side to the struggles of anxiety. The song reaches its summit in the outro, which candidly encapsulates the feeling of a restless mind trying to keep up with the pace and pressures of the everyday. Combining raw vulnerability with zealous angst, Baker voices her inner frustrations with profound relatability – “I’m tired of being so tired”, she declares. With the possibility of a new EP on the horizon, the near future looks promising for Baker’s following, which has continued to grow steadily since she began releasing music as a mere teenager. If this song is anything to go by, it’s evident Baker is already settling into her new label and beginning to carve a real space for herself artistically, finding confidence within her sound. You Might Also Like
NEW EP RELEASE – Alex Amor ‘Super Sonic’
NEW EP RELEASE – Alex Amor ‘Super Sonic’ 08.11.23 Words by George McHugh The Glaswegian has racked up nearly 70,000 monthly listeners on Spotify and the ‘Super Sonic’ project is set to secure herself as one of the stars of tomorrow to watch https://www.youtube.com/watch?v=6U7TrFCFW00 ‘Take It To The Grave’ is the punchy closing track from Alex Amor’s latest EP ‘Super Sonic’. A dreamy and brutally honest- the track is a must hear for its stadium-ready chorus and giddy details littered throughout. Telling harsh truths about people’s constant need to put stuff off and not live in the now- the release is one of this weeks most exciting and an instant ear-worm with hooks a plenty.The Glaswegian has racked up nearly 70,000 monthly listeners on Spotify and the ‘Super Sonic’ project is set to secure herself as one of the stars of tomorrow to watch. Perfect for fans of fellow Glasgow girl Lauren Mayberry of CHVRCHES fame- the EP is a twenty-minute run through of Amor’s multiple personality traits as she takes us on a whirlwind tour of what makes her so unique. ‘Wandering Eyes’ is another gem with funky guitars and sparkly electronic production throughout that is reminiscent of producer SG Lewis’ work. This path is one that would suit her well- warm-disco production over her distinctive vocals are something that could be a match made in heaven.Alex’s vocal is one that feels instantly familiar similar to many of the British tongue-in-cheek popstars of the 2000s decade such as Kate Nash, The Noisettes and Lily Allen. It feels like this part of music is missing in the landscape of pop currently and to see artists such as Alex Amor as well as counterparts Mae Muller and Rose Gray adapt spoken segments that fully utilise their accents into their songs shines hope that this somewhat forgotten part of British song-writing history isn’t going down without a fight.With the ability to write a killer pop chorus whilst being able to take more niche parts of the pop sphere into her song-crafting- Alex Amor has positioned herself perfectly as being one of the next supremes in alt-pop in the U.K. You Might Also Like
NEW SINGLE RELEASE – English Teacher ‘Nearly Daffodils’
NEW SINGLE RELEASE – English Teacher ‘Nearly Daffodils’ 26.10.23 Words by Caitlin Taylor If you’re at all interested in up and coming British bands, which you likely are if you’re here, you most definitely will have heard of Leeds based indie (self described “post-lame”) band English Teacher. With a series of single releases spanning back to 2021, their opinionated lyrics and playful instrumentals have established them as ones to watch. At the start of this month they dropped ‘Nearly Daffodils’ giving us a glimpse at their debut album which is hopefully imminent. Their previous release ‘Song About Love’ is still one of the best songs from 2023 in my opinion and ‘Nearly Daffodils’ continues on the theme of complicated relationships that don’t pan out as you may have hoped. On Instagram the band describes the song as “about heartbreak and acceptance of unfulfilled potential. How, no matter how much you may want something, no matter how much effort you may put into something’s growth or development, no matter how beautiful you can envision its fruition; life is a bitch and about as unstoppable as a freight train.” The verses feature a regular, repetitive beat that compliments Fontaine’s spoken word lyrics that are occasionally broken up with bursts of emotion. Her voice becomes desperate and panicked as she ends the first verse with “there is a reason the first nine months doesn’t count”. It’s a song about heartbreak but also acceptance that sometimes things just will not work. You can catch them touring the UK this month and stay on the lookout for their debut album soon. In the band’s last release ‘The World’s Biggest Paving Slab’, Fontaine describes herself as “the world’s smallest celebrity”. Let’s see how long that lasts. https://www.youtube.com/watch?v=x6xKTRZm3vI You Might Also Like Bedroom, English Teacher, Indie, New Releases, On the Rise, Single