*｡ New Single Release *｡ Liang Lawrence “Eulogy”
*｡ New Single Release *｡ Liang Lawrence “Eulogy” “Eulogy”; a powerful break up song that poses questions while pleasing the ears. 10.04.24 Words by Ed Lees https://www.youtube.com/watch?v=9pd__JN1QYU Released by alt pop singer songwriter Liang Lawrence, the acoustic tune finds a way to be heart wrenching but upbeat. With a title like “Eulogy”, it might not be what you’re expecting, but the song proves to surprise in a good way. Most recently, Lawrence released “Indefinitely” in February, alongside songwriter Riley Pearce, which followed her successful debut ep Letters to Myself, which racked up over one million streams. “Eulogy” is reminiscent of Lawrence’s own admitted influences such as beabadoobee, boy genius, and Clairo. However, Lawrence puts her own spin on this acoustic alt pop blend with her unique lyricism which aims to question the relationship the song aims to mourn. In the chorus Lawrence ponders the relationships worth as she manages to paint a clear picture in so few words. The song itself is inspired by her chance meeting with a former partner just months after their break up. While Lawrence wanted to capture the pain of a break up through music she also aimed to “make fun of just how dramatic it all feels in the moment”. Evaluating the song, Lawrence clearly completed what she set out to accomplish, creating a slightly tongue and cheek, but still meaningful, break up song. In essence, it’s hard to find another song that compares well in both tone and style. Most recently, Lawrence performed at The Lexington in London for BBC Introducing alongside Alfie Templeman and Siobhan Winifred and will follow that up by supporting Alfie Jukes at several of his shows this month. “Euology” is available on all streaming platforms. View this post on Instagram A post shared by Liang Lawrence (@lianglawrencemusic) You Might Also Like
˚ ✶ ⋆ Gig Review ˚ ✶ ⋆ : The Cool Kids are Listening to Lime Garden and So Should You
˚ ✶ ⋆ Gig Review ˚ ✶ ⋆ The Cool Kids are Listening to Lime Garden and So Should You Brighton’s electric four-piece bring the house down, again and again, in final show of tour. 01.04.24 Words by Sophie Abbot I’m the only one in the room who doesn’t know all the words. The floor is trembling underfoot; my ribcage is pressed against the stage as a mosh pit swells and forms behind me, building in time with the music in that mildly threatening, mostly intoxicating way. CHALK, a nightclub tucked away in coastal Brighton’s charming, seashell-strewn streets, is hosting Lime Garden for their final stop on their first-ever headline tour—and more notably—their hometown show. Less than a month ago, they released their debut album, One More Thing, and dedicated fans have already adopted the record, screaming each lyric without missing a beat. It is an impressive, surely rewarding response. Comprised of vocalist Chloe Howard, guitarist Leila Deely, bassist Tippi Morgan, and drummer Annabel Whittle, Lime Garden are a beacon of experimental indie-rockirreverence in an age where confessional, acoustic songwriting has taken a front seat. Throughout the set, the band continuously amp up their own energy, encouraging the crowd to join them, resulting in a high voltage show that blurs the line between performance and audience, providers and receivers. One More Thing is a record that demands to be experienced live, in a mass of equally enthused people, in order to capture the full effect of Lime Garden. They are self-reflexive, witty, and undeniably cool, but they defy inaccessibility. “Pop Star,” a self-reflexive earworm lamenting the struggles of band life, opens with a line about an eczema flare-up. Howard introduces “Nepotism (baby)” as “a song about wanting to be Kate Moss’ daughter” — “To be the it girl is to be it,” she sings, “And that’s what I plan to do / To have a face like an angel / With enough money to do whatever the fuck it is they do.” That last line should be written in all caps for accuracy, as the Brighton crowd screams it in a flurry of raised hands and thrashing heads. That’s not to say Lime Garden are without their moments of genuine pathos. During “It,” a brief but hard-hitting breakup track, the energy in the room reduces to a steady hum. Howard promises that after this one, we can go back to the fun stuff, which makes this glimpse of vulnerability all the more poignant. “It” is a song about accepting the loss of a lover, and the version of yourself that you were with that person, both people you will never see again. “I accept I’m on my own / That I can run, that I can hold / But don’t you feel like it’s seventeen? / You had it all but now it’s real / It feels like you lost the deal.” The mosh pit transforms into a swaying mass of heads on shoulders, hands wrapped in hands. The refrain of “It” echoes as a message to Howard’s ex, but also to us: “Don’t go, just stay / Don’t go, just stay for another.” Stay for another we do. As promised, Lime Garden launch into a dizzying encore of fan favorites, including 2021’s “Pulp,” before throwing it all the way back to their debutsingle, “Surf n’ Turf.” At this point, the show seems like it could be taking place in a garage, or a basement—despite their success, Lime Garden are ultimately a group of friends playing to hundreds of friends. Whether you’re familiar with them or not, you’re treated like one of their own for the night. This feeling of camaraderie continues well after CHALK shuts off its lights and closes its doors. The party transitions to The Green Door Store, a music club hidden beneath the Brighton Railway Station where Lime Garden clubbed in their university days and are returning to host a post-show DJ set. I am surrounded by some of the best-dressed university kids I’ve ever seen; it’s a case study in experimental alternative fashion, makeup, and presentation, and exactly the kind of crowd you’d expect to appreciate clubbing to the likes of MGMT’s “Time to Pretend” and Big Thief’s “Vampire Empire.” I’m particularly delighted to scream along to Radiohead’s “Jigsaw Falling into Place,” trying hard to act nonchalant about the fact that Lime Garden’s Chloe Howard is dancing just a few people away from me. It is this casual, fun connection between the band and their fans that stands out to me most—they’re steadily reaching pop star status, sure, but they are not above partying alongside the same people who were just reaching toward them from the audience of a sold-out headline show. Lime Garden have created a soundscape that feels like a nightclub you never want to leave, for all its drama, for all its ecstasy. The next morning, while purchasing a copy of One More Thing from Resident Music, I look up to realize the person selling me the CD is a member of the opening band from last night. We smile in recognition and I leave the store, somewhat enamored with the close-knit familiarity of Brighton—the person I cheered on last night is back to work in the morning, selling me the headliner’s music, all within reach. Don’t go, the city urges, even as I’m boarding the National Express coach back to London: Don’t go, just stay for another. View this post on Instagram A post shared by Lime Garden (@limegardenband)
• ₊°✧ New Single Release • ₊°✧ Joely June “Not a Crier”
• ₊°✧ New Single Release • ₊°✧ Joely June “Not a Crier” Joely June’s new single breaks down the emotionless poker face we all seek to wear. 29.03.24 Words by Olivia Bloore https://www.youtube.com/watch?v=KiE-3huRYD0 Joely June brings us a vulnerable folk pop ballad with ‘Not a Crier’. Previous singles from the indie folk singer-songwriter include the upbeat ‘Cool’ and ‘Time and Space’, which delivered shoegaze rock textures and soaring melodies. ‘Not a Crier’ returns to her acoustic roots, as a song showcasing vulnerability under a brave face. Joely June has been featured on numerous Spotify editorial playlists, championed by BBC Introducing and racked up an impressive 50,000 all time streams in 2023. She has played live across the UK on tour including at Truck Fest, Rough Trade, The Folklore Rooms and selling out her homecoming show in Oxford. In the film photos that can be found across her social media, Joely can be seen wearing chunky Doc Martens, pale blue old school jeans and vintage waistcoats, frequently pitched against a backdrop of a vibrant, nostalgic spring. Joely’s sonic aesthetic matches this casual lo-fi look; her music often feels like summer in a song. It is only fitting that her latest single ‘Not a Crier’ is a breath of spring air, with a wash of warm textures supporting her rich yet delicate voice. ‘Not a Crier’ begins with a lo-fi, sparse texture cut through with gritty and metallic guitar. The tender acoustic playing introduces Joely’s heartfelt voice, which comes in singing ‘give me just a second / need to catch my breath again’. The mix gives us more space to hear her soft vibrato; the vocals are close miced, illuminating every breath and articulation of the honest lyrics. The song is an anthem for those of us who cannot bear to break under pressure: the hook ‘I’m not a crier/ but for you it’s all I do’ lands an emotional twist on the last line of the chorus. The swung three time is picked up by the introduction of soft drums, building from verse two onwards, giving it an americana feel. A slide pedal steel adds to this rocking country ballad, as the drums drive the track and vocals build in strength. Whilst regaining an air of vulnerability and ethereality, Joely’s voice passionately insists that in every heataching stage of her life she has had ‘two dry eyes every time’, before resigning once again that crying is ‘all I do’. ‘Not a Crier’ is the crack in an emotionless facade; here strength is showcased by vulnerability instead of being ‘dry eyed’. Having brought us indie rock, shoegaze alt pop and most recently a heartfelt folk ballad, we look forward to what more variety this era of Joely June will bring us. View this post on Instagram A post shared by Joely June (@joelyjune) You Might Also Like
• ₊°˗ˏˋ❤ˎˊ Gig Review• ₊°˗ˏˋ❤ˎˊ MOTH Club 19th March – ELI, Trout & Sorry
• ₊°˗ˏˋ Gig Review• ˗ˏˋˎˊ MOTH Club 19th March – ELI, Trout & Sorry It was Tuesday 19th March at MOTH Club in Hackney, just after 7 pm, as we stood at the back of a queue of 4 people we’d earlier mistaken for just smokers. Our House Online had curated a night of London favourites, from superstar Sorry to the up-and-coming Trout and ELI. They were running mildly late; we watched the end of Sorry joint frontman Louis O’Bryen’s cigarette break before he ran back inside. 27.03.24 Words by Caitlin Taylor ELI kicked off the night. She began her set while the crowd trickled in after pausing to get drinks in the first room. Immediately her voice was hypnotising, almost siren-like, which was fitting as the more she sang, the larger the audience grew. She gave a beautiful rendition of ‘Revelation’ with an almost Nirvana-like instrumental backing. As I haven’t seen her live before, I’m still unsure whether her live sets are always more rock-influenced or if this was just inspired by today’s lineup but she can pull off this heavier sound as well as her usual RnB. Like many of the songs that night, her rendition of ‘Promises’ began softly as she performed smooth vocal acrobatics which gradually dissolved into louder sounds. ‘Lover’ seemed to be the song kept closest to its EP version and it was where her voice truly shone. Throughout the set, she was charismatic and incredibly complimentary to the other bands performing and her ability to win over a crowd likely means she’ll quickly move from opener to headliner. After ELI made her exit and my friend and I had finished a brief chat with their bassist about the Californian electronic/jazz-funk duo KNOWER, it was time for Trout to perform. I’ve been a fan of Trout ever since I reviewed their first EP Colourpicker last September and I hadn’t managed to see them live yet so personally their set was the one I was most excited for. We learned that it’s their first time playing at MOTH, but you wouldn’t have thought so. As they launch into their set, they blend in seamlessly with MOTH’s grunge aesthetic, it’s a venue that suits a band that feels as authentic as Trout. Throughout their time on stage, it’s undeniable how well they work together. Despite their soft-spoken interludes – they reacted to a “woo!” from the crowd with shy smiles – they exude confidence in how they play. Lead singer Cesca Challis gave a beautiful breathy rendition of ‘garden’, and ‘in my room’ was an instant crowd pleaser. Their new song ‘friends’ is more experimental than their past releases, playing around with distorted vocals. They were apologetic over the current quality of the unreleased tracks but they certainly didn’t have to be. Any new material is set to be equally as good as anything they’ve released in the past. They close their set with the same level of calm and control they’ve had throughout. While they were perhaps quieter and more understated than the other performers today, Trout still very much has charm and undeniable talent. In the interlude my friend and I cling to our coveted space at the front of the stage, taking shifts for drinks and cigs as we’re swarmed by others. The room is full of spectators now, there are even whispers that some of Fontaines D.C. are hiding at the back, and it’s not surprising. Sorry are a consistent London favourite, definitely one of the most well-known bands still doing the circuit. The first time I saw them was at their ‘Anywhere But Here’ album launch back in late 2022 which was an incredibly interesting night full of stories I won’t recount here for many reasons. But since then, Sorry have even further cemented themselves as the top tier of local bands, moments away from breaking into the mainstream. Their set was dappled with samples and references. One of the multiple new songs they played, ‘Hot Freak’, seems to include an interpolation of one of Kanye West’s biggest songs. They played around theatrics in their own very chilled way, even getting the tech people to turn off the lights during ‘Into The Dark’. It’s clear while watching that they’ve had years of experience. At times they’re deeply emotional – Asha’s voice was heartbreaking as she sang “I have loved every version of you” – but these moments are countered by blaring noises and screams at other times, constantly keeping the crowd engaged, unsure of their next steps. At one point someone started chanting for a 3-hour set which joint frontman Louis O’Bryen claimed they “could do… but might get a bit weird at the end”. You can tell a band is adored when a call out for requests yields desperate cries from the audience. I nodded in agreement with someone nearby who screamed ‘In Unison’ but they eventually settled on ‘Snakes’, a more obscure track from their 2020 release ‘925’ which they introduced with a clip from the original Disney version of The Jungle Book. The crowd, the band, and Asha in particular were all electric. At the end, a couple of young fans who’d be consistently singing along snatched setlists from the stage. It’s difficult to see how they won’t continue to grow exponentially over the next few years.Anyone who says young people are living through their phones hasn’t been to enough small gigs. Photos were captured now and then but mostly people’s eyes were glued to the stage. Every performer felt like they were enjoying sharing their music with the crowd, especially their new songs. Even after the gig, it seemed as though everyone stayed around for a drink leading to a genuine sense of community. I’d class all these artists as must-sees but wouldn’t be surprised if you wait too long to see them both the ticket price and venue size might have doubled. https://open.spotify.com/artist/3BD5fdisJXK0AXZALy8Nqy?si=etiejEtEQpCF_gDvDsZA1Q You Might Also Like
｡❃ New Single Release ❃ : Izzy S.O “Refuse”
｡❃ New Single Release ❃ : Izzy S.O “Refuse” Izzy S.O.’s new song ‘Refuse’ is an iconic anthem with major main character energy. 05.03.24 Words by Layla Wheatley https://www.youtube.com/watch?v=xsI-wxSTBaI It has only been a few months since her last album release, ‘Silly Me’, a five-tracked journey of self-discovery and catchy guitar riffs, but Izzy has already given us more of what we wanted, releasing another new single, entitled ‘Refuse’. Izzy’s creative style explores the genres of pop rock, soft punk, and indie, completely encapsulated in this song, with a heavy guitar and drums in the chorus and angsty lyrics inciting lots of energy throughout. This song is about a tumultuous relationship in which Izzy expresses what she could do next to preserve a relationship without breaking the rules of a casual relationship. Interestingly, this is written from a future perspective, attempting to navigate and make sense of her emotions to ultimately feel a stronger sense of self. Refuse embodies a distinct teenage angsty nostalgia, exploring the journey of heartbreak and inner strength with the underlining message of ‘you are stronger than you think you are.’ Izzy is a true creative, expressing herself freely within the lyrics and visuals of her songs. Most of her songs are conceptualised through poems based on off-the-cuff thoughts based on her life experiences. This really lets her authenticity and eloquent lyricism shine through in her music. Frequently compared to the likes of Alanis Morissette and Avril Lavigne, she also takes influence from artists such as Damien Rice and Mazzy Star to achieve a nostalgic pop rock sound with a modern and innovative twist. Izzy left school at sixteen to pursue a career in the arts, but the start of the pandemic really brought a start to Izzy’s career in music as she had more time to write new music. Writing is one of her favourite parts of being a musician, but she also loves to let things get chaotic and fun on stage, so make sure you look out for her amazing vibes at the Low Lying Sun, London, on March 21st. View this post on Instagram A post shared by Izzy S.O (@izzysomusic) You Might Also Like
｡❊❁New Single Review❁❊: Tilly Louise “Restart”
｡❊❁New Single Review❁❊: Tilly Louise “Restart” Scouse pop-alternative artist – Tilly Louise has returned with new catchy track ‘Restart’, which delivers yet more enthusiastic guitar flair. 26.02.24 Words by Natasha Judge https://www.youtube.com/watch?v=1YZT1Y3PlPs The rising artist has created another hit, which depicts the vulnerability of heart paired with electric guitar moments. Tilly’s guitar ability stands out, and makes what should be a more sombre themed release which details an ending love – a fun, energetic track. As the title ‘Restart’ implies, the song almost takes back power from a failed situation and demonstrates perspective – which comes from being self-aware of recognising when to leave a situation. It would not be surprising if this track were to feature within a compilation scene in a coming-of-age movie. The song highlights how even after breaking down barriers, baring your heart and feelings to someone – it can still not work out. When describing the tune, Tilly said: “Falling in love too fast, giving every piece and part of you to a person that wants the idea of you. Not the real you.” Since emerging in 2020, Tilly has developed music which really examines the different feelings which emerge during adulthood, including self-criticism, love and life in-between. Particularly, Tilly’s previously released track – ‘Make Me a Robot’, embodies the difficulties that come with being capable of so many feelings, and it idealises the thought of being emotionless. Taking inspiration from the likes of Blondie and Paramore, Tilly also looks up to local Liverpool artists Zuzu, Natalie McCool, and Pixey. Her latest EP ‘Join The Club’, was well received and made its way onto various Official Spotify playlists such as Fresh Finds Rock. The previous EP delivered tracks such as the title track and ‘Baggy T-shirt’, which simplistically demonstrate the musicality of Tilly, again with consistent memorable guitar riffs. Racking up over 50,000 monthly listeners on Spotify, this multi-talented artist is one to watch. View this post on Instagram A post shared by TL (@tillylouisemusic) You Might Also Like
｡✬✬✬Gig Review✬✬✬: The Line Of Best Fit ‘5 Day Forecast’ 19.01.24
｡✬✬✬Gig Review✬✬✬: The Line Of Best Fit ‘5 Day Forecast’ 19.01.24 For the fifth and final night of the Line of Best Fit’s five day forecast festival at the Lexington we were treated to a sensational night of three amazing female and non-binary-led acts. 23.02.24 Words by Jack Dixon jasmine.4.T Kicking off the evening was the incredible Jasmine.4.T, the Manchester-based band put on a beautifully varied set flitting between moments of light-hearted levity, to quiet contemplation and intense emotional interrogation. Throughout the set themes of community and compassion were everywhere as they shouted out calls for trans liberation, Palestinian solidarity and social justice. Despite this set being the first time the band had played a full set together, it sounded as if the band had been playing together for years. They presented the audience with not only an amazing vocal performance from Jasmine but also a phenomenal instrumental performance, particularly from their violinist/keyboard player Phoenix. The instrumentation bathed the audience in a rich and layered sound that felt tailor-made to be heard live. A personal highlight came from their song ‘Elephant In The room’ a deeply passionate cut that built in volume as the song progressed, betraying similarities to acts like Boy Genius that are unapologetic in sharing the most sincere and vulnerable parts of themselves. gglum Following on from Jasmine 4.T, indie-pop singer GGLUM presented the audience with a gloriously noisy set reminiscent of the early work of other bedroom pop artists like Billie Eillish. The London native appeared perfectly at home on stage as the audience revelled in her vibrant and grungy sound. The intimate setting of the Lexington provided the perfect backdrop for GGLUM’s raw and captivating energy, not to mention giving us the opportunity to fully appreciate her band’s effortlessly dynamic instrumentation. While her lyrical content (and name) can sometimes suggest an angsty and melancholic vibe, this performance was by no means short of an infectious, light hearted energy that made the gig all the more enjoyable. GGLUM’s debut album, ‘The Garden Dream’ is scheduled for release on the 29th of March with secretly canadian records and after hearing her performance at the Five Day Forecast that day can’t come soon enough. Eaves Wilder Finishing off the evening we had an electric closing set from Eaves Wilder, blending elements of pop, punk and shoegaze to deliver a beautifully emotive performance. Songs like ‘I Stole Your Jumper’ channelled the influences of punk acts like the Riot Grrrl Movement, capturing the audiences attention with the combination of heavy pulsating instrumentation and fiercely defiant vocals that produced an atmosphere of shared vulnerability and catharsis. This influence from riot Grrl shone through on later tracks, with ‘Connect The Room’ exploring the idea of being able to connect with her fellow female artists using a quiet, echoing performance that gave the impression of a chorus of collaborating vocals that beautifully illustrated the message of her track. Wilder showcased her versatility as an artist, transitioning from intense moments to softer, more introspective tracks like ‘Morning Rain,’ where her soft crooning vocals were complemented by a stripped-back instrumental contribution. Overall, the final evening of The Line of Best Fit’s Five Day Forecast was a testament to the raw talent of all three acts showcased. It was an evening filled with raw emotion, infectious energy, and unforgettable music, solidifying each artist as an exciting rising star within the UK’s underground music scene. You Might Also Like
｡𖦹 ⋆Debut EP Release ✮ ⋆ ˚: Essence Martins “Deer In The Headlights”
｡𖦹 ⋆Debut EP Release ✮ ⋆ ˚: Essence Martins “Deer In The Headlights” British Nigerian artist Essence Martins blends the genres of pop, indie-folk, and soul to create magical experiences for listeners. 23.02.24 Words by Georgina Shine https://www.youtube.com/watch?v=DCe0TyN4eDg The newest release from Martins is their mini album/EP – Deer In The Headlights and it is a 6 track gentile yet ethereal experience that will leave you transported into another world. Rubber Band focuses on the purity of Essence’s vocals as it is the mainstay sound in the track. As the introduction to the project, it sets the story of what is to come. It does open a story with its lyrics of hardship and a troubled connection between two people. Its introduction to the ethereal abilities of Martin’s voice by making it the focal point allows audiences to appreciate the talent from the get-go and also excites for what is to come on the rest of the EP/album. Pending Status is a track about love and a relationship that doesn’t seem to be true as Martins talks about waiting around for the pending status of the situation to be confirmed. Interspersed throughout the track is a backing of a male voice with voice messages and phone conversations Wandering Souls explores the reality we live in and the potential of another worldly place beyond what we know. It asks the question of where a soul goes once its time within reality as we know it is over. Essences also pose the possibility of whether all of our questions would be answered if we could find out what lies beyond the world we see. The song reaches a crescendo towards the end that sees a layering of voices all at once that embodies the purgatory-style feeling of all of the wandering souls stuck in this state waiting for somewhere to go and to be free. https://www.youtube.com/watch?v=P8esK7HDFhU&t=345s Like A Fool is a beautiful ballad that pulls at the heartstrings as the album’s title is quoted in this hit about heartbreak. Opening with piano and setting the scene of the pain and hurt, the chorus moves into an echoing vocal of this twisted love story. Each verse is serene as Martins recognises the pain that she experiences as a result of the result. But the chorus picks up in rhythm and volume as she tells of how even with the heartache she can’t quite pull away from the pain even though she knows it’s wrong. Brussel Sprouts beams with optimism in this light and soft track that puts a smile on your face as you hear it. The positivity that her lover brings her is highlighted here as she talks about all of the wonders of her twin sister and just what they bring to her life, how the things they can do are almost miraculous. Closing the EP/album is Hate No More an acoustic guitar-heavy number where Martins describes trying to support and save the protagonist of the song but the message is beyond the protagonist and feels like a song for the listeners and even for herself. This a saviour song that is about finding something beyond the music and the words, this is a song of sanctuary that says to everyone, whatever you feel, you’re not alone, there is a brighter side, a person at the other end wanting to help you. Overall, Martins has crafted a six-song masterpiece that uses her vocal and lyrical abilities to transport listeners to another world and take them on a journey. If you aren’t already a fan of this artist, then this EP/album is an incredible introduction to her musical world that will have you pining for more. You Might Also Like
｡❉❃New Single Review❃❉: Holly Humberstone “Dive”
｡❉❃New Single Review❃❉: Holly Humberstone “Dive” Holly Humberstone has shared brand new track “Dive”, ahead of the release of her newly announced forthcoming EP, Work in Progress. 22.02.24 Words by Rowan Driver The new EP, slated for a March 15th release, follows Humberstone’s debut album Paint My Bedroom Black, which dropped in October 2023. Work in Progress has been described by Humberstone as a collection of “lost older versions of [herself] mixed up with the present”. Having collated the project from a series of rediscovered demos and archived material, the concept serves to highlight Humberstone’s growth as an artist – combining past influences with her current style to give these previously left behind tracks a new lease of life, she aims to show that she herself is very much an ever-evolving work in progress. “Dive” continues to showcase Humberstone’s instinctive ability as a storyteller, detailing her tentative approach to embarking on a new relationship. The track acts as a word of caution for a new lover, as Humberstone muses on what she perceives as her own flaws: “it’s not like in the movies” she warns, reasoning that the complexities of forming a relationship with her leave any attempt at romance marred. A cleanly produced and beautifully subdued track, the song features simple acoustic guitar strums layered beneath breathy vocals, and even includes a nod to iconic reality TV show The Real Housewives of Beverly Hills. Humberstone again displays the signature intimacy and diaristic approach to songwriting for which she is famed. The song and EP announcement come as Humberstone sets out on her biggest tour to date. Kicking off in Paris on 13 February, the tour consists of a total of 20 dates across the UK and Europe, including London’s renowned Eventim Apollo, followed by a run of North American shows. Tickets for a number of the remaining tour dates are still available for those who want to experience Humberstone’s enthralling debut album, along with the promising new tracks from the EP, live. View this post on Instagram A post shared by Holly Humberstone (@hollyhumberstone) You Might Also Like
｡★✧Interview✧★: She’s The Moment at Next Door Records
｡★✧Interview✧★: She’s The Moment at Next Door Records Walking through the door of Next Door Records in Shepherd’s Bush, I was instantly greeted by the soundcheck for the evening, and I knew that it was going to be a truly moving and beautiful night. 21.02.24 Words by Genevieve Pughe After perusing through an impressive record collection and grabbing a coffee, I settled down for an interview with Beau Bennett and Caitlin Pinkess to discuss their new space, She’s The Moment, designed to create a safe space showcasing women in the music industry. How did you guys come up with the idea for She’s The Moment? Beau: She’s the moment was sort of something we came up with at uni for one of our modules and it was sort of a hypothetical thing that we thought would be really cool to create as a business. I got really into female empowerment and supporting women in the industry while I was at uni, and that’s kind of how it all came about as we were both really into it. We kinda were thinking we’ve always supported each other at our gigs, and we’ve always really rooted for each other even though we’re both doing the same thing, and there should bemore of that in the industry. The women on our course were phenomenal and breathtaking. There was such an amazing pool of women on our course and I think we all really inspire each other. I did my dissertation on breaking down the barriers that women face in the industry and I think it’s really sad that people always say there’s this problem, that problem and how are we gonna change it? And I wanted to ask yeah how are we gonna change it? I don’t really like thinking about the negatives unless there’s a solution. And there aresolutions, they’re just not focused on right now. What solutions do you think there are to the barriers women face in the industry? Beau: Such a hard question because there’s so many. Something really important for me is gender roles in music. You see a lot of female vocalists, but you don’t see many female drummers or producers, or female metal artists and it all comes down to gender roles, and as a kid what instrument you’re pushed to more as a female and a male. I am very folky and play guitar and I fall right into that category , but at the same time I do love it, however I wonder if I had been pushed to play electric guitar or drums, would I maybe be more inclined to do that? It’s the same for guys as well, it’s just about having that wider pool of options and I think it is an issue for me, the sort of roles that were put into society but also in music. Once you see it you can’t stop. Caitlin: It’s hard because I think it’s hard to find the right role models when you’re young and in school. The industry has a very male focus and you don’t see a lot of male artists in the industry shouting out or supporting women. I think it’s hard when women grow up in school and already have that fear and doubt installed into you. It doesn’t start in the industry, it starts with young girls being told they can’t do things in a patriarchal society. There’s definitely more unseen obstacles that people don’t really notice. The lack of female role models, and how nerve wrecking it is to go into a room full of men all the time and them not taking into consideration your disadvantage in the room, and not always choosing to reach out. Another thing is that there’s a lot of slandering of women in lyrics which is so disregarded which I think is a massive thing, can you not write anything better? I have favourite artists where I love their music but some of their songs are so disrespectful. Also, female headlines in festivals, where are they? Where? Is this your first event for She’s The Moment? Beau: This is the first ever event and it has come around really quickly, and as it’s our first event I’m very aware that there will be so many things we learn, and there will be so many things that will change next time. I’m just hoping it’s a nice wholesome inclusive event. Even if there’s nobody in the room, it’s about the love of it and the craft of it, and we wanna start from the passion. Tonight we have lyric sheets on the table and they are from our song book so you can see the process of these songs, just focusing on the human element because nowadays there’s so much pressure on being a product and selling yourself. Do you have any goals for what you want to do with the space/event going forward? Beau: It’s definitely still developing, but I think the more we do these events the more we think of what to add. But for me doing a networking event as well where everyones able to chat and really meet each other properly. My ultimate goal is to kinda combine the two, and have a networking event and a gig. So feeling like people might book tickets for the gig by themselves not really knowing anyone, and then come to the gig to see some incredible music, network with some amazing woman and go home with 5 new contacts. Meeting females in the same position as you, at the same stage of their life is so important. Caitlin: One of the things I really want with She’s The Moment is I really want men to come to the gigs, because there’s a lot of really cool girl clubs going on at the moment, but it doesn’t go as far if we are in an echo chamber. I really want more men to come to the gigs and learn