Category Archives: TVD UK

British folk artist Sam Kelly returns with the announcement of his highly anticipated new album Dreamers Dawn, out June 6th on Navigator Records. Taken from the album is the infectious title track “Dreamers Dawn,” out now.

Described by Sam as “a song capturing the euphoric and unadulterated joy of being at a music festival, and the unique magic that live music creates.” Written and recorded with long-time collaborator Jamie Francis and including the talents of his celebrated live band The Lost Boys, the fun-filled “Dreamers Dawn” is definitely festival ready and teases exciting hints for the album to come. A full UK tour coincides with the album’s release in June 2025.

Sam Kelly is a BBC Radio 2 Folk Award winning musician, singer, songwriter, and producer from Norfolk, UK. His band The Lost Boys are festival favourites across the UK and beyond, and as an accompanist on guitar and Irish bouzouki, his portfolio includes playing with the likes of Kate Rusby, Seth Lakeman, John McCusker, Phil Beer, and Katherine Priddy to name a few.

“Dreamers Dawn” is in stores now via Navigator Records.

The sold-out crowd at London’s Eventim Apollo saw Godsmack in a state of flux last week. With Will Hunt (Evanescence) filling in on drums and Sam Koltun (Dorothy, Faster Pussycat) handling lead guitar duties in place of Shannon Larkin and Tony Rombola, longtime fans had reason for skepticism. But from the moment they launched into “Surrender,” it was clear we weren’t getting some watered-down version of the band.

Sully Erna stalked the stage like a man with something to prove, carrying the same pissed-off intensity that’s been his trademark since their 1998 debut. Hunt and Merrill locked in immediately. During “1000hp,” Hunt’s thunderous attack had the floor section visibly rippling while never losing the groove. Cue the mosh pit and stage divers.

Koltun faced the night’s biggest challenge, stepping into shoes most guitarists wouldn’t touch. Smart enough to skip the carbon-copy approach, he found his own lane within Rombola’s framework. During “Voodoo,” lit in violent reds and purples, he leaned into the track’s hypnotic pulse, nailing the signature licks while adding flashes of his own style. Nothing showy. Just solid, confident playing with the right amount of bite. The kid can play. He threaded his own personality through those familiar riffs without losing what made them work in the first place. By the second chorus, nobody was missing Rombola anymore.

Critics have dismissed Godsmack as Metallica-meets-Alice in Chains since day one. So what? From my perch in the balcony, beer in hand, I couldn’t care less about originality scorecards. Sometimes familiar ingredients, mixed right, just hit the spot. What I heard was a band that took those influences and hammered them into something that dominated rock radio for decades. Judging by the crowd’s reaction, it still matters.

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Scottish alt-folk band Lacuna recently dropped their new single “Creature Comforts” just in time for Mother’s Day.

An ode to the bonds of motherhood and the changing seasons, the single is set against a bed of hazy folk-rock, yearning strings, and warming melodies. Imbued with nostalgia and heartfelt introspection, it’s a gorgeous release that not only marks the return of brighter days, but also an exciting new chapter for the talented outfit.

Talking about the release, front person Emily Beckwith says, “This is one of my all time favourite songs we’ve done, it’s about the day to day of working through the dark mornings and nights before the light starts to creep back in. Also how much I’ve seen my Mum in myself over the past few years. I’m now the same age she was when she had me.”

Born from a wild night at Glasgow’s Slouch Bar, the folk-rock sextet has grown within a tight-knit circle of friends and musicians. Since their formation, the band has consistently released beautifully written and produced music, earning attention from BBC Introducing and The Scottish Alternative Music Awards with their haunting folk-rock style.

“Creature Comforts” is in stores now.

Andy Scott’s Sweet tore the roof off Shepherd’s Bush Empire last weekend. It felt like a full-blown arena show packed into a theatre, and honestly, worth every second of the wait. I’ve had them on my must-see list for years, and now I get it.

At 75, and after a tough run with his health, Scott still showed up and delivered. He’s not leaping around the stage anymore, but watching him stand there and let rip with those classic Sweet riffs was something else. The man is the last original member still with us, and you can feel the weight of that every time he hits a chord.

The current lineup sounded huge. Guitars filled every corner of the room, lights blazed, and the volume hit you square in the chest. They jumped between the poppy, glittery stuff from their early days and the harder glam bangers that inspired everyone from Kiss to Mötley Crüe.

“Fox on the Run,” “Burn on the Flame,” and “Broadcast” hit like they were made for stadiums. “Wig Wam Bam” was sugary as hell and still totally irresistible. “Windy City,” from the undercelebrated 1976 classic Off the Record, felt like watching the band that gave Cheap Trick their early sound. The riffs in that song were massive. I still have that verse chugging in my head as I write this.

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Bristol-based newcomer DANYUL explodes onto the scene with debut single “Cartoon Lily,” out now.

DANYUL blends pulsating ska-influenced guitars, sharp reverberating vocals, and woozy synths to create what he describes as “broad spectrum indie.” Drawing inspiration from artists like Jamie T and Lily Allen, DANYUL’s music is a unique fusion of alt-rock and synth-pop that’s impossible to ignore. “Cartoon Lily” takes listeners on a journey through gritty and surreal scenes, capturing the chaotic realities of adolescence in today’s world.

A true DIY artist, DANYUL writes, performs, and produces every element of his music. Now based in Bristol, he combines deeply personal introspection with sharp social commentary, weaving together drunken exploits, beauty, and tragedy, culminating in the wild 5 a.m. stumble home as the sun rises on another day of mayhem.

“Cartoon Lily” is in stores now.

Bloodywood stormed the O2 Forum Kentish Town last Thursday, delivering a cultural hurricane that London won’t forget anytime soon. The New Delhi-based band has gained serious attention since their early YouTube days, and from the moment they launched into “Dana Dan,” it was clear why. It was a statement from start to finish, unlike anything I’ve ever heard before.

Currently touring in support of their highly anticipated second album, Nu Delhi, Bloodywood is on a mission and clearly enjoying every moment of their meteoric rise. I missed them the first few times they came to London, as they gradually moved to larger venues, but this was the band at their absolute peak. Jayant Bhadula’s powerful clean vocals went head-to-head with Raoul Kerr’s sharp rap verses, while Sarthak Pahwa’s thunderous dhol percussion hit like a freight train. The sound was seismic, a frenzy unleashed on the crowd, ripping through every corner of the venue.

The set was relentless, never losing intensity, even though it came in a bit short at around 60 minutes. They opened with “Dana Dan” before diving into the title track from their new album, “Nu Delhi,” and kept the energy high with tracks like “Aaj” and “Tadka.” By the time they hit “Gaddaar” at the end, the place was absolutely buzzing.

What sets Bloodywood apart is more than just their technical skill—it’s the audacity of their vision. They’re blending worlds that shouldn’t work—metal aggression, hip-hop swagger, and traditional Indian folk instrumentation. This is the type of fusion we need more of, not only in metal but across all genres. Too many bands sound like copies of what came before, but these guys have created something genuinely original.

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London-based neo-soul newcomer Sienna Spiro recently released her stunningly soulful debut EP “SINK NOW, SWIM LATER,” and it deserves your attention.

Released alongside the EP is Sienna’s latest single “BUTTERFLY EFFECT,” produced by Yakob (SZA, Lauv); a beautiful piano-led ballad that showcases her incredibly warm and effortless vocal tone. The single is reminiscent of the sensation of the same name that describes how small changes can result in unpredictable consequences over time.

Says Sienna, ‘’BUTTERFLY EFFECT’ is the intro track to my debut EP and really sets the emotional tone of the project. I created the track to have an unexpected climax and lack of structure to capture the unpredictability that mirrors ‘the butterfly effect’ concept and really tells the story of what this song is about. I’m so excited to be getting this out into the world and to share a collection of music I have been working on for such a long time.”

Spiro’s early success in the industry, drawing comparisons to Frank Ocean, Amy Winehouse, and Etta James with her soulful, jazz-infused approach to contemporary pop, is truly inspiring.

Sienna Spiro’s debut EP “SINK NOW, SWIM LATER” is out now.

I’m a metal guy. I’m not who you’d expect to see at a country gig, but something about Morgan Wade pulled me in. She doesn’t play it safe. Tattooed, raw, unfiltered. Open about sobriety, mental health, all of it. She writes from the gut and performs like it still costs her something.

There were a few other metalheads there. Not loads, but enough to notice. One guy in front of me wore an Exodus shirt, so safe to say he’s more of an old school Thrasher like myself. This sort of thing doesn’t happen by accident. People who are used to cutting through the noise can tell when someone’s telling the truth. Morgan’s music has that kind of gravity—authentic and real in a way that can be felt, with just enough of that misfit energy that speaks to those of us from heavier scenes.

The setup was bare, just the essentials. Two guitars and a keyboard. No smoke, no filler, no pretending. Just songs. “Psychopath,” “Take Me Away,” and “2am in London” didn’t need anything else. While I would have loved to see a full band performance, this setup sounded like there were twice as many musicians on the stage.

Her voice holds tension, or grit, or maybe that’s the sound of someone who’s lived it. It’s clear she can open up and let it rip, but it’s the quieter moments that take you to another place. Sometimes you catch a trace of Janis Joplin, other times a classic country twang, but always a sincere delivery that makes it look effortless—and that’s where the connection happens. She’s not trying too hard; it’s just pouring out of her.

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Australian newcomers Folk Bitch Trio are definitely ones to watch, even if it’s purely for the sake of their intriguingly titled band name.

Their latest single, “God’s A Different Sword” is a wonderfully poignant indie-folk track that features the trio’s gorgeously in sync harmonies at the forefront. Gentle instrumentation weaves into the melancholic lyrics, which explore themes of self-reflection and improvement—the band have been praised for their pensive lyricism which is perfectly demonstrated on this release.

Folk Bitch Trio are a band born out of a mutual love for songwriting, rocking, and the truth. Known for enrapturing audiences around their home city of Naarm/Melbourne, Australia with sensitive and thoughtful arrangements of three part harmony, what begun as an unserious collaboration between three friends has led the trio to share stages throughout the country with acts such as King Gizzard and the Lizard Wizard, Julia Jacklin, and Courtney Barnett to name a few.

Making their way back over to the UK later this year, the trio are already confirmed to play festivals such as The Great Escape and Green Man. Keep your ears and eyes peeled for what else Folk Bitch Trio get up to next…

Prepare to be bewitched, enchanted and generally blown away by Rosina Buck and her spellbinding new single “WITCH,” out now.

Written in a moment of deep introspection and produced by Annie Gardiner, “WITCH” holds an otherworldly power that took Rosina—and all those who joined her—on a transformative journey. This song captures the raw energy of the witches’ love, wisdom, and sacrifice, as well as Rosina’s courage to explore the collective edges. Fans of the likes of Alodus Harding and First will feel at home here.

Set against the raw beauty of nature, the video—curated by Amie Nowlan and filmed by Michael Sides—evokes a dreamscape where time folds in on itself, where past, present, and future converge. Rosina elaborates, “This film is a tapestry of feminine power, woven with truth, reverence, and mystery.”

“It is a celebration of all ages, all bodies, all stories—women standing in their fullness, stripped of expectation, moving as one with the earth beneath them. “WITCH” is not just a song or a music video—it is a spirit, ritual, an offering, an uprising of beauty and truth. A reminder that magic is not a myth. It is alive, breathing, waiting for us to remember.”

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English indie-pop band Fickle Friends have been around for over a decade now, and they are going from strength to strength. Their latest single, “Swoon,” is no exception as it oozes with fun and is the perfect anthem for the “hopefully” sunny months to come

Talking about the single, front person Natassja Shiner says, “This song was born in our little studio in Brighton…it was the end of the day and we just decided to go a bit old school and plug in some instruments and have a good old fashioned ‘jam.'”

“Lyrically, this song captures the moment I stopped seeing being single and dating as tragic and started embracing it as iconic—pure brat, hot girl summer energy with everything in between. Snogging? Timeless. Those awkward first encounters? Magic. Shifting my mindset from anxiety to excitement didn’t just change how I approached dating—it changed my life.”

Formed in 2013, Fickle Friends is made up of Natassja (vocals, keyboards), Harry Herrington (bass, backing vocals), Sam Morris (drums), and Jack Wilson (keyboards). Natassja met Sam at Liverpool Institute for Performing Arts and met Chris, Harry and Jack the following year in BIMM Brighton. Since then, they have continued to thrive and are due to release their third studio album in the near future.

“Swoon” is in stores now.

Irish singer-songwriter Niamh Bury goes back to her traditional roots with her latest single “Geordie,” out now.

A wonderful, whimsical trad-folk delight, “Geordie” allows Niamh’s natural Irish charm and poignancy to shine. Talking about the single, Niamh says, “This is a traditional song from the 1600s that I first heard sung by the great Martin Carthy. It’s very dear to me and probably the song in my set that people have asked most about down the years. To me it’s about courage, resilience, survival and the lengths we will go to for our loved ones.”

Niamh Bury is one of the most captivating new voices on the Irish folk scene. Her debut album, Yellow Roses—released in March 2024—quickly stirred hearts and earned her a spot of Mojo’s Best Folk Albums of 2024 list. Niamh’s richly-textured folk sound and singular vocals have lead her to share the stage with acts like Ye Vagabonds, Flyte, Maddison Cunningham, Dermot Kennedy, and Martin Hayes.

“Geordie” is in stores now.

Every single metalhead from the past three or four decades seems to be in attendance, each one of them carrying two pint cups filled to the brim with beer. They’ve come because the air inside London’s O2 Arena crackles with a voltage that only exists when legends walk among us. Twenty-five years after they last stomped UK soil, Pantera has returned to claim their throne. With two core members intact and blessings from both Abbott brothers’ estates, they’ve got more legitimacy than plenty of other legacy acts still touring.

Let’s address the elephant in the room. This isn’t the Pantera that terrorized stages in the ’90s. It can’t be. The Abbott brothers are gone, their absence creating a void that should, by all accounts, make this endeavor impossible. But metal, like life, finds a way.

Phil Anselmo, his tattooed frame showing the mileage of decades in the trenches, commands the stage with the authority of a general returning to the battlefield. His voice, that distinctive, caustic howl, remains a force of nature, even if certain high notes have been strategically relocated to more hospitable vocal territories. Beside him, Rex Brown anchors the low end, his bass lines forming the backbone of Pantera’s signature groove.

Filling the cavernous spaces left by the departed are two metal institutions in their own right. Zakk Wylde attacks Dimebag’s riffs with reverence and his own unmistakable flair, while Charlie Benante powers the rhythmic assault with thunderous precision. They aren’t replacements—they’re torchbearers.

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Gear up for Spring with the wonderfully warm new single “Ten Years From Now” by Australian newcomer Ruby Jackson.

Ruby’s sound is fueled by 2000s R&B nostalgia, but consistently in her own way. Her latest release is no exception as it combines soul-pop and jazz-infused sensibilities creating something poignant and powerful. Fans of Olivia Dean and Pip Millett will feel at home here.

Ruby’s unique approach to storytelling and her signature authentic vocal sets her apart as one of the most original sounds in Australian R&B. We’re excited to see what 2025 brings for Ruby and dare we say, manifest a UK tour? Watch this space.

“Ten Years From Now” is in stores now.

Ahead of the release of their debut album, Nottingham-based quartet Divorce share their jangly new single “Hangman,” out now.

Talking about the single, co-vocalist and guitarist Felix Mackenzie-Barrow says, “I wrote ‘Hangman’ late one night, freezing in my moldy bedroom after a long shift as a support worker; the job I was doing at the time. The lyrics and chords and structure came out complete in about twenty minutes, I had stolen Tiger’s Ominchord for it, which is not an instrument I would usually use for writing. The job I was doing necessitated a high level of emotional control, which was not something I had experienced before and so writing about the work and allowing my subconscious to flow freely helped me to gain some perspective.

I listened to it on the way back to work the following morning over and over and I felt like I’d done a good one. I only worked in that job for about six months, but it was simultaneously the hardest and most rewarding work I’ve ever done. The admiration I have for the people I worked with, and the people who choose that career, is immense. The world of social care is hidden in a society that likes to pretend it doesn’t exist, but it is vital and deserves much more focus and investment than it currently receives.”

Last year, Divorce signed to Universal Records’ Gravity Records, before filling 2024 with a raft of international festivals and tours with Bombay Bicycle Club, The Vaccines, and Everything Everything. As anticipation continues to grow for Divorce’s debut album, Drive to Goldenhammer out 7th March, the band are also looking forward to a run of UK in-store performances, followed by a full UK/EU headline tour later this year. Watch this space.

Pre-order the album here.