It's hard to believe that The Twang's Jewellery Quarter album is entering its 15th anniversary. Released in 2009 to much acclaim, it become one of the indie scene's front runners as it paved the way many would follow. In celebration of its pinnacle release, the album has been re-recorded and remastered, and on vinyl for the first time ever, ‘Jewellery Quarter 24K’ will be available as an extremely limited edition gold splatter LP with a fresh take on the classic artwork. In honour of the new release and anniversary, The Twang will also be hitting the road with a new UK tour this December in which they will be performing the ‘Jewellry Quarter’ album in its entirety, including some tracks that have never been played live before. The shows will also see the band playing hits from across their back catalogue, with plans for a few other surprises too. Tickets are on sale now - available here. The re-release will be available December 6th and can be pre-ordered here: thetwang.tmstor.es
The Twang - December 2024 Tour Thu 05 Leeds Wardrobe Sat 07 Coventry Kasbah Thu 12 Leicester O2 Academy Fri 13 Liverpool O2 Academy Sat 14 Manchester O2 Ritz Wed 18 Bristol O2 Academy Thu 19 London Electric Ballroom Fri 20 Sheffield Leadmill Sat 21 Birmingham O2 Academy
Ahead of the weekend, The Wombats made their excited return with the news of their sixth studio album entitled Oh! The Ocean, out 21st February 2025 via AWAL. Coinciding with the announcement the band have shared its first single Sorry I'm Late, I didn't want to come. With a title that I'm sure most of us can relate to, the track's soft melodies and falsetto vocals we see Matthew “Murph” Murphy come to terms with his anti-social side as we get the first taste of what's to come. "[It] is about constantly defaulting to a 'Lone Wolf' mindset, and what the real life consequences of that may be." Continuing about the album, “I’ve been to many beaches and seas and coasts over the years but for some reason it felt like the first time I had ever seen it and was truly present. There was this revelation that I had been living a life caught up in my own head, or in some kind of racing helmet or with blinkers on. It was really a potent experience. I felt like I saw everything new for the first time, and was aware that I had been so selfish to not take in how crazy the world and life is. I’d been caught up in my own BS for way too long. The album offers up some internal questions like: why are my head and body disconnected all the time? Why am I incapable at times of seeing any form of beauty in the world or in others? Why do I expect the world to conform to my will? Why do I never stop and smell the flowers?” Take a listen to the first single below. The band will also head out on a run of UK arena dates set for March 2025. Tickets go on sale on Friday 18th October
Following the recent release of 'Don't Do Well Alone', her incredible debut EP via Chess Club Records, Siobhán Winifred brought her tour to Bristol's Exchange amidst a whirlwind year that's seen her supporting the likes of Stevie Nicks at her
BST Hyde Park show in July and play opening slots w/ Rachel Chinouriri, Nieve
Ella & The Academic.
What's remarkable is that this is her very first headline tour. Not that anyone would have suspected with the musicianship on display as the band wasted no time before they launched in to the euphoric "Stay For Good".
As her voice cut through the air with a distinct warmth, Winifred’s stage presence is undeniable. From the moment she walked on stage, the audience was captivated, not just by her physical presence but by the emotional depth she poured into every note. Through ethereal qualities, effortlessly shifting between soaring high notes and intimate, breathy whispers she demonstrated exceptional control, especially during quieter, more delicate moments where each subtle inflection carried weight and meaning. Her vocal range is truly impressive, and it was on full display in ballads like "This House" where she navigated complex runs with ease.
Forming a well-curated blend of her original songs and a few tasteful covers, each selected to highlight a different aspect of her artistry, from Charlie xcx's "Apple" to a blisteringly powerful cover of "Pretty Things" by Rufus Wainwright, the crowd got a true sense of her prowess. Both at opposite ends of the musical spectrum, Winifred took it in her stride adding her own unique spin to both.
Between songs, she shared anecdotes about her writing process and personal experiences, adding a layer of vulnerability to her performance talking opening about anxiety and loneliness, something that's sadly so relatable in today's world. The rawness and sincerity in how she spoke about her songs made the audience truly feel like they were part of a shared journey, however, humour and charm brought levity creating a balanced atmosphere between the emotional depth of her music and the lighter moments in between.
Through brutal honesty there's no denying her tracks pack a powerful punch, and live they're only intensified. From "Keep Sweet's" gripping vocal refrains in the track's slow burning crescendo, to the EP's title track "Don't Do Well Alone", which was brought to life in accelerated detail, each track was built up meticulously.
Elsewhere, channelling real, lived experiences through every song, fans got to experience the unreleased single "Forever" which Siobhán says was written after reading her Grandparents diary and discovering that all the memorable dates had been noted with "love you forever". A touching and emotive introduction as the track's subdued vocals and three way harmonies steadily build towards its explosive finale.
With no encore, Siobhán exclaiming she would only be too clumsy to run back on stage, the night concluded with the ever brilliant "Killers", a track that propelled her to the forefront with its infectious vocals and swelling instrumentation, the crowd gave the biggest cheer of the night.
There’s a certain intimacy and authenticity in her shows that make them feel deeply personal, almost like you’re witnessing something rare and fleeting. And for fans tonight, they got to be a part of a truly intimate affair. With further support slots with Blossoms, The Snuts and The Royston Club, It's only a matter of time before Siobhán Winifred is selling out much larger venues herself.
It's hard to believe "Teal" was released over 3 years ago. In what feels like a recent resurgence thanks to a new fanbase on TikTok and a younger generation now discovering it for the first time, it's catapulted Wunderhorse in to being at the forefront of the scene as they see a rapid ascent as one of the UK's most compelling live acts.
Following the release of their second album 'Midas' earlier this year to much acclaim, the band were back in the Welsh capital in support with a headline show at Cardiff's Student Union. Having only played the venue 7 months prior supporting Declan McKenna, their sold out date goes to show just what's been achieved in such a short space of time. And as fans packed in to the venue, decked out in merch, it was clear to see the admiration they've attracted.
With a short wait until 9, it was first back to class with Melbourne's HighSchool who fitted perfectly alongside the Wunderhorse fanbase. Now based in London, their songs that tell tales of longing, nostalgia and unrequited love were brought to life in full spectral colour. With a handful of single and EP's released so far, the band wasted no time in charging through their catalogue that saw their jangly guitar riffs and infectious melodic soundscapes envelope the crowd. Bending genres from punk, lo-fi and sun-soaked surf rock, the band's unique take on songwriting created a familiarity that resonated with the excited audience who were only keen to show appreciation. With the hazy guitar notes and fuzzy vocals on "August 19", to the angular melodies and high octane pace of "New York, Paris and London", the band brought their warming sound to UK shores just in time for the winter chill.
Blending their dark, brooding melodies with a vibrant stage presence, the trio—fronted by siblings Rory and Lilli Trobbiani, and Luke Scott (along with a full band live) created an atmosphere that perfectly captured their mix of moody introspection and sharp, rhythmic energy, which certainly earned them some new fans tonight.
Following a short interval, as the crowd began to sway and Somewhere Over The Rainbow pumped out from the speakers, a sea of mullets were primed and ready for action as cheers loudly signified the band's emergence.
With the temperature and energy inside already tangible they wasted no time and launched into "Midas," their signature opener, immediately setting a raw, powerful tone for the night. Jacob Slater, with his intense yet reserved stage presence led the band through a broad cross-section of their debut album Cub and newer material, including fan-favourite “Emily,” where the audience passionately sang along before the lyrics even kicked in.
Through an onslaught of guitars and thundering percussion, Slater's vocals remained a true front runner. Cutting through the mix, there's few band's that could replicate their songs live with his intense and passionable delivery, yet it flows effortlessly in nature. Despite being a man of few words, with a reserved stage presence the crowd were treated to display of some of the rawest and emotionally charged renditions of their work to date.
Other highlights of the night included "Leader of the Pack," which ignited the mosh pit as its extended intro driven by Jamie Staples's pummelled percussive hits and their scuzzy guitar layers sent ripples through the crowd. All before "Silver" and "Purple" back-to-back drove emotional moments that kept the energy surging with its waves of anticipation and release.
The encore was a dramatic finish, with the Lead Belly-inspired "Irene, Goodnight" transitioning into "Teal" a barrage of phones reached for the sky eager to catch a glimpse of the band on stage before Slater thanked the crowd and departed. Sadly there was no play of "July" but that doesn't take away from Wunderhorse’s performance which was tight, intense, and left the Cardiff audience buzzing for more. It's no mean feat to say they've quickly become one of 2024’s must-see live acts.
As the release of their forthcoming debut album approaches, due out November 8th through Brace Yourself Records (Panic Shack, JOHN, Nuha Ruby Ra), Lazy Day returns with the final teaser of what's to come unveiling the glorious Getting Good. Packed in to its 2 minute 37 second duration is a whole lot of excitable energy as waves of guitar layers crash over its soft percussion and simmering crescendo. "The song is about my menial but recurring feelings of failure," explains Scantlebury. "And how I can become really good at behaviours that aren’t helpful, habits that stop me from doing what I need to do. I’m not sure that many people would recognise this kind of avoidance in me, but I wanted to stare at that secret tendency of mine head on."
"Open the Door is about possibility and capacity," they continue, "but 'Getting Good' is about those times when I've been too worried to push the door open myself, and it's been easier to keep it closed”: 'I know I could be good if I just left the house now / And stepped into the world, it’s not that I don’t know how.' Writing the song helped me refocus on the things I really truly want to be good at. Getting good as a continual process, but one that requires you to move on." Take a listen for yourselves below.
Getting Good is taken from the album Open the Door due out 8th November.
Tour dates: Oct 12th | Manchester, UK - Beyond the Music Festival Nov 8th | Kingston, UK - Banquet Records Nov 12th | Southsea, UK - Pie & Vinyl (daytime show) Nov 12th | Southampton, UK - Vinilo (evening show) Nov 13th | London, UK - Rough Trade West Nov 20th | London, UK - Moth Club (w/ Flipturn) Feb 6th | Manchester, UK - YES (Basement) Feb 7th | Glasgow, UK - Broadcast Feb 8th | Edinburgh, UK - Sneaky Pete's Feb 9th | Newcastle, UK - Three Tanners Bank Feb 11th | Nottingham, UK - Rough Trade Feb 12th | Birmingham, UK - The Victoria Feb 13th | Bristol, UK - Louisiana Feb 14th | London, UK - The Lower Third
Following a road-test of new material with an intimate run of tour dates earlier this year, The Libertines were back on a much grander scale, all in support of their recently released album All Quiet on the Eastern Esplanade.
Needing no introductions, the band have soundtracked our airwaves and sticky indie-dance floors for the best part of 2 decades. And despite all the trials and tribulations that have met them along the way, it's still clear to see why they've achieved such a legend status.
9 months on from their last performance in the capital, they now had a fourth studio album under their belts and were set about showcasing it with all the charisma, tension, and musical ferocity that launched them into fame over twenty years ago.
Out from the rain, battering its way down on the Cardiff streets, there was a storm of its very own brewing up inside the Great Hall. And as Pete's trilby hat peered from the side of the stage, fans may very well have benefited from leaving their coats on to avoid the hurled pint cups that were quickly launched around the room. I guess proceedings had began.
Thrown straight in to nostalgia, the classics came thick and fast as The Delaney, What Became of the Likely Lads and Boys in the Band kicked things off.
Songs from their 2024 album All Quiet on the Eastern Esplanade added an exciting layer to the performance, offering insight into the Libertines' musical growth. Tracks like Shiver showed the band exploring more mature, reflective themes while maintaining their signature sound—a mix of punk energy with a wistful, poetic lyricism, followed quickly by the brilliant Night of the Hunter, a soft number that showcased their joint vocal harmonies in blistering fashion.
It's safe to say these new songs resonated well with the audience, suggesting that the band's fanbase has evolved alongside them, eager for both the old anthems and the newer, introspective material. And this feeds in to the band's energy with Pete and Carl regularly sharing a moment as they battled guitars together and hugged. This era might just be the healthiest the band have looked and it really showed in their musicianship on stage.
With a roller-coaster set-list packed to the rafters, following a raucous display of a jubilant Run Run Run, a perfectly fitting tune that explores themes of hedonism, escapism, and the fleeting nature of happiness, the signature drum intro to Can't Stand Me Now quickly illuminated the room as a sea of phones reached upwards for a glimpse of the band ready to flood the socials.
As Pete launched his harmonica in to the crowd, the encore beckoned. That's not before percussionist Gary Powell came before the mic to exclaim his love for Wales as he walked off beaming in smile.
With a short break, soundtracked by much cheer from a crowd eager for more, the band returned for a monstrous 6-track encore that saw them charge through new album track's such as Man With the Melody and Oh Shit, saving the big guns for last as Don't Look Back Into the Sun took the energy inside to a new level as flailing arms and bodies crashed in to one another.
The Libertines' Cardiff show was not just a nostalgia trip for those who have followed them since their beginnings, but also an affirmation of their continued relevance in the indie rock scene. The mixture of early hits, mid-career tracks, and new material showed that the band is capable of looking both backwards and forwards. Their ability to engage a crowd—whether through chaotic, punk-infused moments or more tender, introspective songs—proves that they remain a band to watch, even as they enter a new chapter of their career.
The Libertines played The Delaney What Became of the Likely Lads Boys in the Band What Katie Did The Good Old Days Up the Bracket Vertigo Shiver Night of the Hunter Merry Old England Death on the Stairs Music When the Lights Go Out Horrorshow Be young/Have a Friend Mustangs Run Run Run Can't Stand Me Now
Encore: Man With the Melody Oh Shit Gunga din/Last Post On The Bugle Time for Heroes Songs They Never Play on the Radio Don't Look Back Into the Sun
It's been quite the whirlwind for Divorce since the band last touched down on Welsh soil at Cardiff's 2023 edition of Swn Festival. From a string of EP's and single's, to the excited announcement of their debut LP, due out next year, all the way to supporting the biggest band's up and down the country, to their own rightfully deserved hometown residency shows which saw them sell out 4 nights on the trot, the band certainly have their eyes set on the prize and fans in the Welsh capital were in for a treat.
First up, warming the sold-out crowd before their arrival was the excellent Blood Wizard. Fresh from the release of his brand new single, and joined by a full band, Cai Burns let us in to his mystical world with a dash of uplifting, melodic soundscapes. Hard to pigeonhole, with a sound that spanned scuzzy guitar pop to alt-folk and punk, his music truly comes to life in the live environment, and it didn't take long for the audience to become quickly entranced, their cheers and energy sending smiles across the band.
With a new album due out later this month, they're not short of hits as they came thick and fast. It was clear to see new fans being instantly won over as they hurriedly searched Instagram to follow. From Breaking Even's luscious melodies and driving guitar lines, to the sprawling delivery that's rooted deep within their live show, it's a success all round as fans cheered for them to come back to Cardiff with Cai asking if they have time for one more, the room was quick to answer in unison with a resounding "yes" as he jokingly cleared up he was asking the sound tech. It's safe to say open arms will await their welcomed return.
A short change-over and it was time for all inside to dissolve the bonds of matrimony as Divorce took up their places centre stage.
Their sound is an intoxicating blend of post-punk and rock with an added dash of grunge, all of which create a memorable impression like no other. Just a few moments in to their set, the band delivered an immediate punch. The Nottingham-based outfit have long crafted this gritty, raw energy that grabs you right from the start, and live it's all the more gripping.
The vocals are arresting—intense, and unapologetically abrasive. Immediately grounding, coupled with their distinct melodies and harmonised delivery, the band were quick to set the mood as Felix Mackenzie-Barrow and Tiger Cohen-Towell created a symphonious superpower up front.
As their vocals cut through the mix with a level of defiance and vulnerability, you get a true sense that they're channelling real, lived experiences through every shout and growl, offering both catharsis and reflection. Completing the line-up with Adam Peter-Smith on guitar and Kasper Sandstrom on percussion the band were quick to showcase their diversity as the crowd got treated early to the elongated and blisteringly delivered "Sex & The Millennium Bridge" and twanging "Eat My Words".
There's also new songs peppered throughout their set-list, all warmingly received. Teasing the new record, not out until March 7th 2025, Felix was quick to joke that they've been waiting a long time to share these songs so it's only fair we get to feel their pain. And despite being their first play, the crowd eagerly lapped them up, I suppose it's the familiarity embedded within their music that makes each and every song so relatable.
"We've played festivals all over the summer and I've never sweated this much" exclaimed Felix. A self-fulfilling prophesy of sorts as their energy and electrifying performance transcended in to the crowd who in turn danced and jumped around from the opening notes, all causing an incremental rise in temperature. The band soldiered on though, like the professionals they are.
"Heaven Is a Long Way" is a perfect moment then to catch breath as the vocals echoed around the the beautifully silent room. "Here comes the painful part" would normally be an ironic lyric where typical shows are filled with the mindless chatter and laughing between friends. But not tonight, as fans eagerly and respectfully clung to each and every word with full attentive detail in perfect silence.
What’s remarkable about Divorce is how authentic they are in their performance. There’s no sense of artifice or calculation—everything about their set feels genuine, from the rawness of the vocals to the ferocity of the instrumentation, creating a shared experience that’s visceral and real. The band feeds off the crowd’s energy, and it only amplifies the intensity.
By the time they close their set and the brooding, appropriately titled "Checking Out' lives up to its monstrous singalong status, the room was buzzing with energy. Divorce’s performance is a reminder of what makes live music so vital—there’s an intimacy and intensity that can’t be replicated on record and they're here to make you feel every note, every word, and every moment of the show.
It's safe to say this is a band that will soon have outgrown these intimate venues as they continue on the trajectory.
Lots of things are uncertain in life. The Horrors for one aren't a band I thought I'd be writing about this week, but they're a case in point that anything can happen. Marking their exciting return with a new iteration of the band that features two original members, frontman Faris Badwan and bassist Rhys Webb, alongside keyboardist Amelia Kidd and Telegram drummer Jordan Cobb, The Horrors have shared their excellent new single The Silence That Remains. Taken from the forthcoming sixth studio album ‘Night Life’, out March 21st via Fiction Records, the track sees the band return to their darkened roots through a propulsive effort with their signature vocal delivery and expansive soundscape backdrop. ““The Silence that Remains” is a 3am insomnia walk through the city, retracing our steps and putting the past to bed. Our new chapter is beginning and we’re looking forward to taking you with us. The Horrors are never-ending” they explain. Fast approaching their 20th anniversary as a band, ‘Night Life’ sees them continue to bring new ideas forward. Take a listen for yourselves below.
The Horrors Live Dates: Artist presale: 10am Friday 4th October - 6pm Tuesday 8th General sale: 10am Friday 11th October
Wed 27 Nov 2024, Bedford, Esquires Thu 28 Nov 2024, London, The ICA Tue 3 Dec 2024, Manchester, Yes (Pink Room) Wed 4 Dec 2024, Leeds, Belgrave Music Hall Thu 5 Dec 2024, Glasgow, Room 2 Thu 12 Dec 2024, Blackpool, Bootleg Social Fri 13 Dec 2024, Bristol, Strange Brew Sat 14 Dec 2024, Southend, Chinnerys
Taken from the upcoming album Grinning William, which will be released on October 25th via Sad Club Records, Blood Wizard has today shared the brand new single Back2bed. Saying what we all feel on the regular, through its alt-folk melodies, the track's soft palpable rhythm and intricate sounds take the listener on a journey through the inner thoughts that often crop up in our head. On the new single, Blood Wizard says: "Back2bed seems like a downer on the surface, but really it’s about enjoying that sadness a little bit. It captures the dreamy melancholy you get when you’ve been inside for too long, avoiding everything. I have a tendency to hide away for periods of time, especially when I’m making music, and I wanted to capture the emotion I feel in that space. It’s not really good or bad; it can just be nice to avoid the world sometimes". Take a listen for yourselves below.
Blood Wizard - Grinning William // Sad Club Records - 25/10/24
1. Sciencefiction
2. Grinning William
3. Apples + Oranges
4.Devil Dressed In Disguise 5. BIG FISH 6.babytooth 7. Back2bed
8. Indecision
9. Sinister Star
10. Higher Energy!
UK Tour Dates 3rd October - Clwb Ifor Bach, Cardiff (with Divorce) 4th October - The Cavern, Exeter (with Divorce) 5th October - The Joiners Arms, Southampton (with Divorce) 7th October - The Boileroom, Guildford (with Divorce) 8th October - Tunbridge Wells Forum, Tunbridge Wells (with Divorce) 9th October - Face Bar, Reading (with Divorce) 10th October - Where Else?, Margate (with Divorce) 22nd October - The Horn, St Albans (with Divorce) 23rd October - Islington Assembly Hall. London (with Divorce) 26th November - Yes (basement), Manchester 27th November - Louisiana, Bristol 4th December - Where Else?, Margate 5th December - Green Dore Store, Brighton 6th December - The Lexington, London
South West London outfit Slaney Bay have made their excitable return with their brand new single Countdown. Taken from the band's forthcoming EP ‘The Long Way Home’, arriving early 2025, their maturing direction sees their developing sound continue to evolve as punctuated melodies and euphoric choruses lead up the charge. Sharing more details about their brand new offering, enigmatic bandleader Whitley explained: “‘Countdown’ is our ode to youthful romantic tension. When you show up to a house party just in case that one person arrives. And your eyes instinctively find them in the crowd, like love-drunk tunnel-vision. In ‘Countdown’, the question of “Will we happen?” becomes “Let’s make us happen right now”. Take a listen for yourselves below.
Live Dates 18th-19th October -Left of the Dial, Rotterdam 8th November -The Garage, London (w/ The Clockworks)
Slaney Bay are Cait Whitley (lead singer), William-Nicola Thompson (lead guitarist), Joel Martin (bassist), Jonny Burraway-Andrews (drummer)
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