How the Lambrini Girls Evolved from Chaos to Call-to-Action
How the Lambrini Girls Evolved from Chaos to Call-to-Action Having followed their journey for many years, watching the Lambrini Girls perform at the O2 Ritz last week felt like a defining moment. 12 December 2025 By Jessica Blissitt For a first-time follower, their aggressive orchestration and pounding punk riffs could be mistaken for scattered chaos, but if you listen a bit longer you’ll notice the lyricism holds a rightful anger towards social injustices that can make any bystander feel motivated to improve their small piece of the world. When every single person is clamouring for real change, chanting in line with Lunny’s lyrical likeness, it definitely feels unnaturally optimistic. Hopeful, almost. Formed by the formidable duo of vocalist Phoebe Lunny and guitarist Selina Macieira-Boşgelmez, this Brighton-based punk group could be described as a odd-bodied concoction of the Spice Girls, Panic Shack, and Le Tigre. Their following was built on this uncompromising moral clarity, but with the rise of more volatile social powers in recent years has left me doubtful. Could the Lambrini Girl’s classic style of mocking the powers that be, still possess the effectiveness it once did? The set immediately ripped into the classic anthems that cemented their fame over the past two years, like God’s Country and ‘Lads Lads Lads’ that stewed over the systemic and misogynistic rips in british society. The energy on stage was matched only by the crucial crowd collaboration. Lunny consistently instigated the band’s customary call-and-response—a tradition I now recognized in my third review—fueling the back-and-forth energy of the show.From asking queer legends to stand up in ‘Help Me I’m Gay’ to maintaining a sustained rally of call-and-response in ‘Craig David’, the atmosphere transcended a typical punk show. In typical Lambrini Girls’ fashion, the mosh pit transformed into something from a Greek forum, where fans candidly encouraged to yell out about their experiences of harassment in their local music industry, prior to’‘Boys in the Band’ and continually reminded to pick anyone up who fell down during the mosh pit. Although the concert included many beloved traditions I had enjoyed during their Glastonbury sets, the music from their most recent album clearly demonstrated how their political punk had evolved in direct response to the UK’s recent, deepening polarisation. As their fame has grown, the Lambrini Girls appear to embrace their growing influence, spreading essential messages to a larger group, boycotting festivals and calling out anti-trans advocates.The Lambrini Girls’ commitment to leveraging their platform for change is evident, driving them definitively into the next, more influential stage of their musical journey. This political commitment has defined their current era of music, with the unapologetic aggression of ‘Cuntology 101’, and the searing critique of toxic masculinity found in ‘Big Dick Energy.’ Tracks like ‘Bad Apple’ remain brutally on the nose, using punchy, repetitive lyrics to indict deep-seated issues with the police force. Their sound is changing as their fame takes off, but fortunately, their key messages stay the same. For this musically vulnerable shift, I feel hopeful. It suggests their message will not only be heard by the multitudes, but will resonate deeply enough to provoke lasting social change. You Might Also Like Recent Posts
Wide Awake 2025 Review – A Political Celebration of Music and Community:
Wide Awake 2025 Review – A Political Celebration of Music and Community: No surprises here – Wide Awake was brilliant. 6 June 2025 By Caitlin Taylor It was a shaky start – news of legal action against the festival for not following regulations meant rumours swirled that it would be cancelled just days before but Wide Awake brushed this off and carried on. After sadly missing out last year, I was determined to drag our founder Isla along to experience the best of London Day festivals and it was well worth it. Daniel Avery did an amazing job at curating the Dazed stage which took place inside a giant big top tent. The first act we caught there was Chanel Beads who were, as always, captivating and incredibly cool. As he did at their Pitchfork show last year, Shane Lavenders requested that the lights facing that band be shut off so that they were backlit, leaving the audience with a shadow puppet-esque view. Maya McGrory (who recently released her own solo album as Colle) was particularly enchanting whenever she was on the mic. They were also joined by regular King Krule collaborator Gal Go on sax. Shout out to Hello Mary who we unfortunately missed but heard great things about from others, they’re definitely on our radar for the future. A horrible timing clash meant that while I planted myself firmly at Fcuckers, Isla made a mad dash across the park to catch parts of deBasement, Mannequin Pussy and English Teacher – but I was told they were all definitely worth the sprint. Fcuckers were just insanely fun, they had the entire crowd jumping and dancing around, particularly to their opening and closing songs ‘Homie Don’t Shake’ and ‘Bon Bon’. We also caught Nadine Shah who was a powerhouse with bellowing vocals and a crazy stage presence. She even brought out Spider from the Pogues to perform ‘Boys from the County Hell’ which prompted certain people to join arms and dance around in drunken circles – no naming names. CMAT was the penultimate act on the main stage, riding the high of her recent TikTok virality. Everyone with an embarrassingly high screen time could be seen dancing along to ‘Take A Sexy Picture of Me’. After a while, I ran off to catch Cobrah who ended up being pretty late. I wasn’t complaining though as it meant Sega Bodega (who I’d sadly resigned myself to not seeing) had extended his set past his designated time. Her eventual appearance was worth the wait, however, giving the sexiest performance of the day even featuring a very brief Cou Cou Chloe appearance/lap-dance that left everyone in the big top tent hot and bothered. Wide Awake is an undeniably political festival as shown by their refusal to give into the campaign against their headliners Kneecap which was kicked off by their divisive Coachella set earlier this year and culminated in a terrorism charge against member Mo Chara. We caught whispers of a secret set which turned out to be a speech from Jeremy Corbyn on the main stage mid-way through. He championed grassroots music venues, the power of community, and Palestine. Headliners Kneecap reinforced similar messages during their set, really hammering into the audience the importance of standing up for what you know is right despite the consequences. The support Wide Awake provides to grassroots venues should also be championed, with them providing stages for MOTH Club and The Shacklewell Arms as well as the South East London DIY skate spot The Grove. The world feels like a scary place at the moment and it’s beautiful to see so much community still remains. Walking around the festival we encountered so many fellow journalists, local musicians, and industry people all of whom were keen to chat and share thoughts/cigarettes. Afterwards, Isla texted me to say she had “the bloody best day ever” and I wholeheartedly agree. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: South Arcade “Supermodels”
New Single: South Arcade “Supermodels” Undoubtedly one of the most exciting emerging artists this year, South Arcade are continuing on a path forged in fire, unique to their inimitable sound and style. 22 March 2025 By Isaac Phelan Currently Listening to: https://www.youtube.com/watch?v=GOZPQvtDoa8 Produced by the band and mixed by Thomas Mitchener, ‘Supermodels’ is what happens when someone says, “Hey, what if we took 2000s pop-punk nostalgia, shook it in a glitter cannon, and fired it directly into our eardrums?” The track opens with vibrant guitar riffs that pay homage to early rock staples of Sum 41 or Avril Lavigne. However, South Arcade’s true strength lies in obliterating expectations. Before I’ve even secured my headphones on, the song erupts into an audacious dance break — chaotic, bass-heavy, and utterly infectious. Mitchener’s mix ensures each layer — from punchy drum hits to Harmony Cavelle’s commanding vocals — remains sharp and vibrant. The track balances inexorable grit with unprecedented accessibility, it’s sure to find a home in all major clubs this season. South Arcade said, “we wanted to push the limits of having a 2000s pop-punk accessible tune that then turns out to have the most obnoxious dance break in it. We just wanna keep doing things our listeners won’t expect from us but at the same time referencing y2k aspects in true South Arcade fashion. We also just wanted to write another really fun track especially with the lyrics on this one being so tongue in cheek. We can’t wait to play it at the festivals this year and see peoples reactions” The four-piece are set to have an unbelievable year, packed out with unmissable live shows and huge festival dates. Kicking things off with a sold out show in Manchester and KOKO, they are heading straight out on the road as the support for American singer songwriter and musician Bilmuri’s huge European Tour. But they are far from finished; as they are jetting off to the US with American pop-punk band Magnolia Park for over 25 dates. This Summer, they play Slam Dunk and Radio 1’s Big Weekend in May and following a riotous headline of the BBC Introducing stage in 2024, they were invited back onto the main stage at Reading & Leeds this year, sharing the stage with the likes of Limp Bizkit and Bring Me The Horizon. The four-piece are set to have an unbelievable year, packed out with unmissable live shows and huge festival dates. Kicking things off with a sold out show in Manchester and KOKO, they are heading straight out on the road as the support for American singer songwriter and musician Bilmuri’s huge European Tour. But they are far from finished; as they are jetting off to the US with American pop-punk band Magnolia Park for over 25 dates. This Summer, they play Slam Dunk and Radio 1’s Big Weekend in May and following a riotous headline of the BBC Introducing stage in 2024, they were invited back onto the main stage at Reading & Leeds this year, sharing the stage with the likes of Limp Bizkit and Bring Me The Horizon. Lead singer Harmony Cavelle added, “2025 is turning out to be a crazy year so far. I think we are in disbelief that we will be actually going to Europe and America this year and to top it off returning home to play some of our favourite festivals Slam Dunk, Radio 1’s Big Weekend and Reading & Leeds Festival!” You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
New Single: Witch Fever “DEAD TO ME!”
New Single: Witch Fever “DEAD TO ME!” Witch Fever, Manchester’s resident post punk quartet have just released their latest single since their debut album in 2022, Congregation. 22 March 2025 By Jamie Shovelin Currently Listening to: https://www.youtube.com/watch?v=EjIgde_TFBI This latest single “DEAD TO ME!” kicks off 2025 for the band with a bang. The single may sound familiar to fans of the band since they have been playing it live for quite sometime now, but the studio version is finally here and paired with a kickass music video. DEAD TO ME! is set to bring in the new era of music from the band while still connecting to their past music, “a reintroduction to what we have represented, and a good path leading to what’s to come.” When listening to the single I could hear inspiration from their earlier stuff, especially songs like ‘Reincarnate,’ while still managing to give new life to their sound. The song draws from religious trauma and anger from the situations we grew up in and is used as an “fuck you” to that past, Lyricist/vocalist Amy Walpole also admits she uses it to release anger towards anyone in her life she thinks deserves it when playing the song live. Amy said: “When I’m playing it live, there’s a bunch of other people I’m thinking about who are dead to me.” And with lyrics like “You got a glimpse of all your sin, Dead to me, dead to me” sung with such anger and power repeated in every chorus, who can blame her? The song heavily reflects on all the pent-up anger every girl has faced from the stereotypical expectations of how they should act; quiet, sweet, complacent, and cute. Whereas the song and music video are the exact opposite of that, its loud, messy, and grotesque, with imagery of maggots and “un-ladylike” acts, it perfectly encapsulates the emotions and truth behind these memories and situations. And it’s not just the vocals and lyrics that make this song such a powerhouse. The song starts with a simple bassline from bassist Alex Tompson and is built onto by guitarist Alisha Yarwood, the mix of distorted guitar and heavy bass adds to the anger of the song and how that emotion can mess with your head, add to that the powerful double bass drumming from Annabelle Joyce and it’s like your thoughts have been brought to life instrumentally. If this single is anything to go by for their new era of music, I am very eager for the next release and hope they continue building this new sound they have found in their DEAD TO ME! Era. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Leibniz – Shut Up The World
Image credit: Jake Reid Leibniz – Shut Up The World 27 September 2024 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. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
Manchester Psych Fest 2024: A day of raw, hypnotic, guitar-led energy
MANCHESTER PSYCH FEST 2024: A DAY OF RAW, HYPNOTIC, GUITAR-LED ENERGY 19 September 2024 As the Autumnal clouds firmly make their mark and restore Manchester’s infamous dull tones, Manchester Psych Fest saw a glimmer of sunshine as TNAM.UK bid farewell to the whirlwind of Summer festivals once more. Words by Kyle Roczniak Kicking things off in a stylish fasion, the beautiful ballroom of the O2 Ritz saw Parisian collective Juniore make their much-anticipated return to Manchester soil, carrying with them a wide array of surf-rock inspired melodies and sunsoaked grooves, encapsulating a certain ‘60s French noir. Their big hits such as ‘Ah bah d’accord’ are welcomed with rapturous energy from the packed-out room, as vocalist Anna Jean’s elegant tones set the city up for a day of weird and wonderful music. TTSSFU Kyle Roczniak TTSSFU by Kyle Roczniak It’s not long until we’re back in the smallest, sweatiest rooms though, as a mad dash across the road following Juniore’s hour-long epic means I can catch Duvet’s guitarist Tasmin Stephens open the 500 capacity Gorilla, under her solo project name TTSSFU. Wielding her signature heart-shaped guitar and flanked by her consummate band, her soaring indie-pop tunes translate perfectly to a live setting, received by a refreshingly respectful crowd of all demographics. Psych Fest sees Tasmin take on two must-see sets, delivering driving post-punk goodness with Duvet a mere 3 hours later. A highlight of MPF is always the eclectic atmosphere provided by the utilisation of different event spaces. Between catching Goat Girl at the historical Albert Hall, and dashing back to the Ritz for NewDad, the afternoon is filled with a rare sense of urgency as I dash between Manchester’s staple ‘sweaty venue’ YES, and the makeshift outdoor stage at Projekts, an urban skatepark nestled comfortably under Manchester’s inner ring road, the Mancunian Way. My trip there was an excitement-filled one, finally catching Heartworms live, the London-based solo project of guitar and theremin witch Jojo Ormes. Her ability to create such a wide soundscape is something to be noted, as she effortlessly belts atop a mix of heavy guitars and boomy, driving drums, creating an electronic sound with a post-punk-esque lineup. Closing on ‘Retributions Of An Awful Life’, Heartworms must surely feel a sense of belonging in front of the rapturous festivalgoers, as they dance and sing the afternoon away, and do their best at catching the T-shirts thrown into the crowd by the band. Heartworms by Kyle Roczniak Heartworms by Kyle Roczniak Heartworms by Kyle Roczniak The rest of the day sees me waiting around for my real heroes HotWax – the MUST-SEE grunge rock trio from Hastings, with the loudest and most prominent set that undeniably leaves the biggest mark and is aching to be showcased on bigger and better stages around the world. Aside from some technical difficulties that involved bassist and vocalist Lola having to forcibly hammer against the switches on her instrument, and press down on guitarist and lead vocalist Tallulah’s pedal board like her life depended on it, the set was the perfect late-evening farewell to the group, with their raucous antics pleasing a mix of devoted fans and converts. With the rapid drum rhythms (courtesy of Alfie Sayers) and angular guitar lines of ‘Phone Machine’ to the unforgettable earworm bass in tracks such as ‘Rip It Out’ and ‘High Tea’, we can be sure that the band’s onstage teaser of an upcoming debut album means that any future Manchester shows will only progress to be bigger and more exciting for everyone. Hotwax by Kyle Roczniak Hotwax by Kyle Roczniak Hotwax by Kyle Roczniak Hotwax by Kyle Roczniak You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
࣪⋆⭒ New Track ˚⟡˖ Mazare and Dead Pony – ‘Generation Gap’
˚⟡˖ New Track ࣪⋆⭒ Mazare and Dead Pony – ‘Generation Gap’ ‘Generation Gap’ – a bold genre blending track infusing the worlds of rock and bass. Words by Melissa Milsom 4 July 2024 https://www.youtube.com/watch?v=9ZCpgvbQUB8 Scottish Anti-Punk Four piece Dead Pony have joined forces with Italian DJ Mazare on this latest Rock/Drum and Bass love affair. Bringing us strong guitar riffs, wicked vocals and a high energy chorus that’s undoubtedly serving a little something for everyone. There’s nothing like when your favorite bands take a plunge into a new sound, will it pay off or scare us off? Well Fans of Dead Pony… you have nothing to worry about! This collaboration with Mazare’s High energy isn’t entirely new. Anna Shield’s vocals and Blair Crichton guitar demand our attention as much as ever. The band’s usual DIY hands-on approach feels very much alive and well as we can feel their signature all over. Overall very well throughout collaboration, that allows both parties to feel established without being mismatched. View this post on Instagram A post shared by Dead Pony (@deadponyband) You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
. ݁₊ ⊹ New Single Release ⟡: Gaffa Tape Sandy “Dead to Me”
. ݁₊ ⊹ New Single Release ⟡ Gaffa Tape Sandy “Dead to Me” High Octane New single from Brighton Garage Rock Trio 23.04.24 Words by Thomas Heath https://www.youtube.com/watch?v=gHMM1_h1cUw “Something loud and exciting” is Gaffa Tape Sandy’s description of their motivation for music, and nothing sums that up better then their latest single ‘Dead to Me’ – released ahead of their debut album ‘Hold my Hand, God Damn It’ dropping 31st May. Being a grimy punk at heart, I’m 100% biased. But the single slaps you with an addictive, punchy uproar that takes modern punk back to that shady corner of your local pub. It’s simple, it’s effective and it makes you want to get out of your seat and move like your life depends on it. Inspired by the likes of Idles and Art Brut, their sound is local and infectious. It’s got the edge you’d expect but also pushes an authentic rock’n’roll feeling. A welcome new take on a familiar formula, an uplifting and energetic mood working to keep the sound bright. It’s also getting them noticed. Following their previous EP ‘Spring Killing’, they received a slot at Glastonbury 2017, followed by an inclusion on NME’s 100 essential acts of 2018 listing, as well as gigging on national circuits since. They obviously graft and it shows in their sound, listening to them is like being ‘live’. This track in particular embeds the pure energy of their art, mixing punky shouts with the simple but memorable guitars and drums – even throwing in a grungy outro that settles you down before the next song. You can listen to Dead to Me on Spotify right now, with their debut album ‘Hold my Hand, God Damn It’ also available for pre-order ahead of release in May. Playing Brighton, London, Edinburgh, Glasgow and Leeds from 31st May onwards, you can also see Gaffa Tape Sandy do their thing for yourself – and I reckon they’ll do it amazingly. View this post on Instagram A post shared by GAFFA TAPE SANDY (@gaffatapesandy) You Might Also Like
⋆*｡ ࣪Gig Review ⋆*｡ Punk’s Not Dead. SPRINTS are Proof.
⋆*｡ ࣪Gig Review ⋆*｡ Punk’s Not Dead. SPRINTS are Proof. The Dublin garage rockers sell out (and absolutely smash) their largest headline show to date. 22.04.24 Words by Sophie Abbott “I took my first pill here.” Karla Chubb is referring to London’s world-famous gay nightclub, Heaven, and a wave of understanding laughter ripples through the crowd of a thousand-odd people, echoing in the venue’s stone arches. Heaven is aptly named—it’s a place where Londoners lose cell phone service and their inhibitions, letting themselves movewherever the night takes them, fully concealed from the bustle of Charing Cross Station overhead. The last time I was here, Jagerbombs were still my drink of choice, and Adele was seated in the rafters before joining the drag queens onstage to judge a Thursday night strip tease. Tonight, however, Heaven is a temple dedicated to punk rock. In January of this year, SPRINTS quietly released one of the loudest, most impressive debuts of the year—one that has fought the test of time and raised its voice even louder as the months tick by. Letter to Self is a furious baptism into 2024, a raucous, energetic ode to the power of anger and the collective exorcism that comes withscreaming at the top of your lungs in a room full of people. Riddled with religious imagery and self-referential rage; listening to this record feels like telling lies in the confessional just to see if you’ll catch on fire, and halfway hoping you might. SPRINTS repeatedly reinvent themselves, experimenting throughout the album: they borrowmetallic screeching from industrial rock, a few shoegaze guitar tones, and lyrics reminiscent of riot grrrl feminist punk, all while crafting something wholly individual. Seeing the album performed live is a similar experience, even from my position toward the back of the sold-out show. “How much can you actually see?” The man beside me asks. “I nearly, nearly wore my high heels for this.” In the end, it doesn’t matter what glimpses of SPRINTS we can catch or not; their energy reverbates in relentless waves of cathartic noise. They employ continual riffs to keep each track flowing seamlessly into the next, making the entire show one dizzying, full-circle experience—one which their lyrics reflect, too. “Am I alive?” Chubb screams on “Ticking,” the opening track on Letter to Self and one of the first songs on tonight’s setlist. Bassist and vocalist Sam McCann chants along, chords dropping in heavy succession, while drummer Jack Callan attacks the kit and guitarist Colm O’Reilly rages against the electric. This moody mess of crowd and performers continues throughout SPRINTS’ run of Letter to Self, with the album’s titular track inciting a chorus of “I am alive.” The record is a mirror image, an answer to its own opening question, and a reminder to all of us. Standing in a gay club on a Wednesday night, rocking out to the up-and-comers, yeah, we are alive. The relevance of this messaging is not lost on Chubb, who takes a moment to acknowledge the ongoing crisis in Palestine, the attack of transgender rights brought on by the UK government, and the necessity of punk-rock ideals in 2024. “We want to be a unifying voice against all that bullshit,” she says. “SPRINTS is about making noise for shit that fucking matters. If anyone has something to say against you, send them in my fucking direction. Make noise, enjoy each other.” The last songs of the night rip past in a torrent of light, sweat, and movement. During “Little Fix,” a track off of 2022’s A Modern Job, Chubb bodysurfs without missing a single note, her voice tearing through Heaven, hundreds of hands propelling her away from the stage and then back again. When the band disappears and the lights come up, everyone wears the familiar half-dazed smiles you only seem to get from a successful punk show—SPRINTS dove into the music and took us with them, and now that we’re coming back up for air, nothing looks the same as before. View this post on Instagram A post shared by SPRINTS (@sprintsmusic) You Might Also Like
｡✬✰New Single Review✰✬ : Lambrini Girl “God’s Country”
｡✬✰New Single Review✰✬ : Lambrini Girl “God’s Country” The latest release from Lambrini Girls slaps you in the face with its anarchistic mantra: “Great Britain – are you sure?”. 29.02.24 Words by Beth Gulliver https://www.youtube.com/watch?v=muoddHKZthg ‘God’s Country’ grabs your attention immediately, and proceeds to mock the far-right in a rant which reads like a punky ‘We Didn’t Start the Fire’, with added gumption and stunning punchy vocals. The Brighton punk duo sees Phoebe Lunny’s passionate rally cry set over Lily Macieira’s bassline. Lambrini Girls met as regulars on the Brighton music circuit and formed the band in 2020, taking inspiration from Courtney Love and Stevie Nicks. They have since been heralded by Iggy Pop as his “favourite new band” and it’s easy to see why. Lunny and Macieira’s debut EP ‘You’re Welcome’ showcased thunderous singles ‘Help Me I’m Gay’, ‘White Van’ and ‘Lads Lads Lads’; their latest release proves the duo just keep getting better. ‘God’s Country’ has jagged guitar riffs, clanging drums and attitude-filled lyrics – the result is an angsty track that will be electric live, set against the band’s immersive gig experience. Lunny often submerges herself in the crowd and the pair have been known to douse fans in beer and Lambrini. Stand out lines include: Bankers pay no tax / Grandma can’t afford heating / Strong and stable you’re joking / Pizza Express in Woking / We can’t afford to eat there / But a paedophile can? / All hail / God’s Country / Sorry bestie / But it’s giving austerity. The song is two minutes of perfect punk, challenging authority and questioning the double standard that is often present in British politics. Lunny previously discussed how the genre is about “inciting positive change” with NME and Lambrini Girls aim to create a safe space in the industry. Fearless and influential, look out for the band’s debut album in early 2025. If you can’t wait that long, Phoebe and Lily will take to the stage at London’s Scala venue on June 13th. Grab tickets for what will be an incredible show now. View this post on Instagram A post shared by Ellie Bleach (@ellie_bleach) You Might Also Like