Category Archives: TVD UK

Last night, Jane’s Addiction kicked off their tour with an intimate, electrifying performance at London’s iconic Bush Hall, marking the first time in over 14 years that the classic lineup played together. With a capacity of just 400, the venue was packed to the rafters, creating a sense of exclusivity and anticipation that filled the air. Tickets were nearly impossible to get, making this an extraordinary event for those fortunate enough to shuffle through the door of this more than one-hundred-year-old dance hall. 

The classic lineup of Perry Farrell, Dave Navarro, Eric Avery, and Stephen Perkins brought undeniable star power to the stage. Each member showcased their talents while melding together seamlessly to deliver a nostalgic and forward-thinking performance. It was a night that evoked the spirit of the ’90s, a decade where Jane’s Addiction helped shape the alternative rock landscape with their raw and eclectic sound.

Jane’s Addiction’s early days were marked by explosive energy and boundary-pushing performances that helped define the alternative rock movement. Their shows were chaotic, vibrant, and unpredictable, with each member contributing to the wild, rebellious spirit that set them apart from their contemporaries. Last night, that spirit was very much alive, but it was clear that the band had evolved. Their performances are now polished yet powerful, seamlessly blending their classic hits with a matured, sophisticated sound that continues to captivate.

Perry Farrell embodied the essence of sophistication, juxtaposing his early days of psychedelic flair and rebellious energy with a more refined, eclectic style. His stage presence remains magnetic, effortlessly commanding the audience’s attention. Still distinctive and assertive, Farrell’s voice highlighted his growth as a multifaceted artist. He is a master showman, weaving the old with the new and entrancing the audience throughout the set.

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PHOTO: HOLLY WHITAKER | Experimental duo O.—yes that’s it, that’s their name—are back with another wonderfully woozy delight for you to sink your teeth into. Their latest cut “Micro” is taken from their upcoming debut album WeirdOs, out via Speedy Wunderground on 21st June 2024.

Saxophonist Joe Henwood plays with an impressive amount of distortion, creating something that sounds like a synth or a guitar as a result, whilst drummer Tash Keary plays skitter-splat breakbeats, creating a feast for the ears that is certainly not for the fainted hearted! Get ready for your walls to shake…

Talking about their upcoming album release, the duo explain, “WeirdOs is a dark, heavy album based around our love of riffy basslines, blast beats, dub, noise, and all the weird sounds in between. It was recorded live across two weeks in the studio with Dan Carey and aims to replicate the feeling of being at one of our gigs.”

“Micro” is in stores now. Catch them at a festival near you this summer.

Twenty years on, Hopes and Fears remains a masterpiece, untouched by time. Few bands will have a moment like this, and even fewer will stick around to celebrate it at this magnitude. I saw this original tour in Houston, Texas in 2005 and now nearly two decades later, I’m amid 20,000 fans at a sold-out night two at the famed O2 Arena in London. The energy is electric, the music transcendent, and Keane’s timeless sound isn’t just enduring—it’s thriving, with the crowd’s roaring approval as proof.

Tim Rice-Oxley hammers on the keyboards like a heavy metal guitarist shreds during a face-melting guitar solo. You really can’t take your eyes off this guy as he’s clearly having the time of his life, pouring his heart and soul into every smash of the ivories. Tom Chaplin’s voice was the best I’ve ever heard it. Maybe it was made for arenas? It was just next level, and I’ve seen him perform Queen songs where I thought he was peaking. Add to that his signature charismatic leaps, swirls, and fist pumps, and you’ve got that 2004 magic refined and elevated.

The rhythm section of Richard Hughes and Jesse Quin keep it simple but elegant while locking in that signature Keane groove that lays the foundation for their biggest hits. It’s easy to forget that there’s no guitar in this band, something that was a bit of a talk trigger twenty years ago but Keane proved that it’s just not needed for what they do best. The songs, it’s all about the songs. And on this night it was hard to argue with the setlist.

The star of the night was of course Hopes and Fears played in its entirety, and let me tell you, this record still holds up like it was released yesterday. It’s not only one of the all-time best-selling albums in the UK, clocking up more than 3.5 million sales in the UK alone, but it’s a damn near perfect album. You could call it the Hysteria of brit pop with five singles dominating the chart as the hits just kept coming.

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Having recently signed to Nice Swan Records alongside the likes of English Teacher and SPRINTS, Dublin’s latest rising star Kynsy is looking to make a splash with new single “Money,” out now.

Talking about the release on Instagram, Kynsy said, “This song dives deep into the complexities of love, nostalgia, and longing, offering a raw exploration of the heart’s journey. Produced in my bedroom with the help of Caesar Edmunds on mixing duty, this project pushed me out of my comfort zone, and I’m proud to say I took the leap.” “Money” is a scuzzy indie-pop delight from the offset. Fans of the likes of Soccer Mommy and Alvvays will feel at home here.

The Dublin based artist has developed her own songwriting rules that have given her the ability to experiment, push her own boundaries, and avoid being pigeonholed into any one genre. Kynsy is definitely one to watch…

“Money” is in stores now.

Singer songwriter Luke Fraser has returned with his theatrical new single, “The Curse.” Following on from Fraser’s debut album, Moth Eaten Romeo in 2022, the troubadour will unveil several singles as he builds towards EP “So Below” later this year.

Having spent many years performing on the London live circuit, both as a solo artist and with a band, Fraser has built a loyal fan base through his emotive style of music. Dramatic, literate, and heartfelt, Fraser’s sound sits neatly between the likes of John Grant and Andrew Bird.

“The Curse” is a perfect encapsulation of Fraser’s stunning sonics. Graceful piano, atmospheric percussion, and confessional lyricism play out, as Fraser’s reflective vocal takes centre stage. A mature, bittersweet piece of music from start to finish.

It’s easy to see why Fraser’s approach to songwriting has garnered support from tastemaker far and wide with the likes of Radio X, Absolute Radio, BBC Introducing, Clout Magazine and many more supporting the artist.

‘The Curse’ is available to stream now.

This week we have a debut release from Irish alt-pop duo PostLast! You may recognize the duo from their respective bands HAVVK and BARQ, both of whom we’ve previously championed here at TVD.

PostLast’s debut single “Connect 4” is an upbeat escape into the joy and fragility of making friends as a grown-up. “The song is about rediscovering your inner child through connection with others, and remembering how to switch off, play and dance with reckless abandon,” the band elaborate. Fans of the likes of St. Vincent, AE MAK, and Sorcha Richardson will feel at home here.

Julie Hough and Stephen McHale first connected while completing a joint headline tour of Ireland and the UK in 2017. Over the past year they have been writing in secret, preparing each element of their collaboration to be ready for public release in spring 2024.

“Connect 4” is in stores now.

Oxford’s Self Help have released their propellant, post-rock single, “Enrage Engage.” The five-piece create an expansive sound in the realms of Squid, KEG, and Idles, all packaged in their own unique style.

“Enrage Engage” is the lead single from the band’s debut album of the same name. Following on from previous single “Spaceman,” Self Help have ramped up the eccentricity a couple of notches as they direct their ire at the ills of the world.

Self Help wear their heart on their sleeve, sarcastically voicing their displeasure at the state of the modern world. “Enrage Engage” is packed full of fuzzy melodies, distinctive vocals and a maelstrom of in-your-face guitars.

Following a short, self-imposed, break from the playing music, Self Help returned in 2022. Their uncompromising sound led to a number of festival appearances and airplay on BBC 6 Music as well as support slots with the likes of Squid, Goat Girl, The Murder Capital, and Animal House.

Having recently supported Buzzard Buzzard Buzzard, and with further singles due for release, we here at The Vinyl District can’t wait to hear the record in its full, sardonic glory.

Debut album Enrage Engage is due in stores on 7th June 2024.

Entering the Eventim Apollo on a brisk Tuesday evening in London felt like stepping into a chapter of my personal soundtrack.

My first encounter with Mika’s music was a chance stumble upon “Grace Kelly” while living in San Francisco. As someone deeply appreciative of bands like Jellyfish, Queen, and Badfinger, Mika’s sound struck a chord with me—bold, inventive, and refreshingly unique. That track alone was a game-changer, and diving into his album was akin to discovering a pop music gem, brimming with disco, funk, and those falsettos and harmonies that instantly pull you in. It was as if the energy of the Scissor Sisters’ debut had been reborn.

Mika’s 2024 tour kicks off on the heels of a spectacular year. His French-language album not only snagged the “French-language Album of the Year” at the Pure Charts Awards, but he’s also made waves on television, earning critical acclaim for his roles on The Voice in France and The Piano in the UK—the latter winning Best Original Programme at the 2024 Broadcast Awards. His venture into film scoring also earned him a nomination for Breakthrough Composer of the Year by the International Film Music Critics Association, showcasing his remarkable versatility as an artist. To say he’s at the peak of his powers would be an understatement.

Seeing Mika live again was like reuniting with an old friend. His Apocalypse Calypso Tour might have featured just one song from his latest album Que ta tête fleurisse toujours, but it didn’t matter—the energy was through the roof. The crowd was pumped, eager for a night packed with Mika’s greatest hits. He delivered big time, diving into the songs that first hooked us, making sure the evening was filled with those signature Mika moments we all came for.

To fully grasp Mika’s unique artistry, you really had to be there. The show kicked off with an unforgettable spectacle—Mika, decked out in massive red wings and enclosed in a symbolic cage, delivering “Bougez.” His performance swung from beautiful to intense, capturing the full spectrum of human emotion. From that first song, it was full steam ahead. Mika was on a mission to energize every person in the crowd, keeping us grinning from ear to ear for the next two hours.

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Ever evolving alt-rock outfit HAVVK’s raucous new album To Fall Asleep is a grunge-filled musical endeavour, packing a powerful punch that leaves you pining for more. The highly anticipated album was released on the 15th March via Veta Records.

Made up of Julie Hawk (bass, vocals), Matthew Harris (guitar), and former Bitch Falcon drummer Nigel Kenny, HAVVK’s emphasis is on social issues in their art—from bodily autonomy to “filthy landlords.” These upcoming tracks were primarily recorded in Belfast’s Start Together Studio with producer Rocky O’Reilly (Wheatus, And So I Watch You From Afar).

This is an album about sleep, and the things that keep us awake at night. Talking about the album, Hawk says, “We started talking about sleep a lot as a band a few years ago when I was experiencing insomnia. I was waking up with an unshakable feeling of urgency, like I was forgetting something and then letting my thoughts spiral for hours. Sleep was something I had always taken for granted, so at first this felt like a huge betrayal from my body. But it wasn’t really. Actually, it was my body trying to tell me something. I had to really listen to it, and examine how honestly I was living my life, and how much energy I was giving to things that I didn’t have the capacity for.”

Single “You Say You Won’t” is all about toxic and self-sabotaging habits, and starts with the slow thrum of the bass guitar, building up to heavy drops made for headbanging. The chorus takes the song into a more hopeful sound, contrasted with the lyrics saying “you say you won’t, but you do it again,” which is all too relatable for us all.

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British singer-songwriter Sophie Faith has been making waves for a while now. She combines jazz, soul, and hints of hip hop infused sensibilities and we think it’s about time you sat up and took note.

Sophie’s latest single “Dopamine” is no exception as it oozes with smooth, sultry melodies and Sophie’s equally mesmerising vocals shine throughout. Sophie has amassed a dedicated following and millions of streams with her string of singles since 2017.

Previous collaborators include Erick The Architect, Flatbush Zombies, Reuben James, Coops, Linden Jay, Joe Beard, Fred Cox, Lophiile, Joe Hertz and more from around the world.

Sophie is currently on her “Hold My Drink” tour, which will be the title of her upcoming project. Get tickets whilst you can!

“Dopamine” is in stores now.

Alt-indie duo EEVAH showcase their true selves with vibrant new single “Heartbeat Is Missing.”

Taken from their upcoming EP “Simplify Life,” the single includes electrifying guitars and a persistently throbbing rhythm. For fans of the likes of Pale Waves and MUNA, “Heartbeat Is Missing” is oozing with raw ferocity and angst from the offset.

Talking about the single, frontwoman Nicole Smith says “It’s about pleasing people, changing yourself to fit in, and losing who you really are. Becoming desensitised to people’s apparent lack of boundaries or empathy, weaving together negative attention into a protective armour that keeps away the darkness but also blocks out the light, realising that then lashing out.”

EEVAH are made up of Nicole Smith and multi-instrumentalist producer and member of Embrace, Rick McNamara. The duo have built up a cult following performing hundreds of online shows to an ever growing community.

EEVAH’s upcoming EP “Simplify Life” is in stores on 23rd May 2024.

Tuesday night at the Troxy in London, Liam Gallagher and John Squire delivered a performance that could only be described as a serendipitous collision of rock ‘n’ roll giants. When the news of their collaboration first broke, skepticism and excitement swirled in equal measure. Gallagher’s unmistakable vocal presence, combined with Squire’s masterful guitar work, sounded too good to be true. Yet, there we were, witnessing a partnership that seemed destined by the rock gods themselves.

The crowd at the Troxy was a testament to the magnetic pull of Gallagher, a figure whose fans exhibit devotion that borders on the spiritual. The scene could easily be mistaken for a political rally, if not for the oceans of beer and the electrifying anticipation of music rather than rhetoric. The mood was intense, a heady mix of throwback vibes and the buzz for something novel, as the crowd geared up knowing they were about to witness something far from the ordinary.

What truly set the evening apart was the duo’s bold decision to eschew the expected Oasis and Stone Roses hits in favor of their new collaborative material. The gamble paid off spectacularly, with tracks like “Just Another Rainbow,” “I’m So Bored,” and “Mars to Liverpool” proving that this partnership was not just a novelty but a potent new force in music. Their cover of “Jumping Jack Flash” was a nod to their influences while firmly establishing their own identity. I was standing there in complete awe of how well it worked, Gallagher’s snarl over the psychedelic ’70s sonic landscapes from Squire; it really was something special, something I never thought I’d see.

The origins of this unique collaboration, as Gallagher revealed, were as unconventional as the show itself, beginning with a simple gift of Portuguese moccasins from Gallagher to Squire. This gesture, emblematic of their mutual respect and friendship, sparked a creative partnership that has since captivated the UK music scene. It’s a reminder that sometimes the most extraordinary projects arise from the simplest acts of thoughtfulness and connection. Who would have thought that Gallagher was such a good gift-giver?

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Strap in and brace yourself for a metal odyssey that breaks the mold, where Dragonforce, Amaranthe, and Infected Rain come together in a lineup that’s a rarity in today’s landscape—a trio where no band is the weak link, each elevating the bar for what a metal tour can be. Gone are the days of filler acts; this tour is all killer, no filler, channelling the spirit of the late ’90s and early 2000s when lineups were so impeccably curated, you’d swear the stars had aligned.

Amaranthe, with their unparalleled trio of vocalists, elevates the metal scene into an electrifying spectacle. Elize Ryd’s enchanting melodies, Henrik Englund Wilhelmsson’s raw growls, and Nils Molin’s robust cleans interweave, creating a vibrant tapestry of sound that’s both aggressive and melodious. This vocal dynamism sets the stage for performances that blur the lines between genres, cementing their place in what some affectionately term “dance metal.”

Their latest endeavour, The Catalyst, is a testament to this evolution, showcasing a blend of razor-sharp precision and boundless energy. However, as someone who holds Helix as their favourite album, its absence from the setlist strikes a personal chord. Despite this, the overall brilliance of Amaranthe’s performance remains undiminished, offering a glimpse into a future where metal is not just heard but felt in all its multifaceted glory.

Dragonforce orchestrates a journey that’s a high-octane blend of nostalgia and spectacle, weaving an adrenaline-charged realm where power metal is sovereign, arcade games cast their luminous allure across the stage, and pop classics undergo a metamorphosis into power metal masterpieces. Their renditions of Taylor Swift’s “Wildest Dreams” and Celine Dion’s “My Heart Will Go On” exemplify their knack for blending the unexpected with sheer technical brilliance.

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This week’s AOTW comes from South East London. Lola Young has been making waves for a while now in the UK, despite only being 22 years old. Her latest release “Intrusive Thoughts” is a highly relatable, raw slice of songwriting that will hit you right in the feels.

Young’s upcoming album My Mind Wanders And Sometimes Leaves Completely is set for release on 26th May 2024. It represents the start of a new chapter for the rising newcomer.

Stepping into a new light of expression, Lola explores the depths of her creativity whilst consistently drawing her authentic South London edge through the project. She blends her passionate vocals with the emotions she is exploring with her casual wit and frankness, offering a genuine insightful experience for fans.

Lola is currently embarking on her North American tour at Vinyl in Atlanta, GA before going on to perform in New York, San Francisco, and Los Angeles. Tickets are available here.

“Intrusive Thoughts” is in stores now.

This week’s Artist of The Week is Marla Kether—a rising and thriving session bassist, DJ, and producer based in London.

Marla has previously worked with the likes of Yazmin Lacey, Loyle Carner, and Obongjayar, as well as working on a self-produced EP “All That We Have,” which was released last year. Most recently though, Marla has teamed up with another TVD favourite, Samantha Lindo, on new single and remix “Bloodline,” which is out now.

Inspired by the likes of Kaidi Tathum and Kokoroko, the remix is Marla’s first release since her debut EP. With the help of some wonderfully warm and rich horns played by Poppy Daniels and James Akers, Marla has switched up this soulful jazz piece into an immersive bed of grooves reminiscent of the broken beat scene of the late ‘90s, and sounds that encapsulate the essence of “London jazz.”

Marla explains what drew her to this rework: “The mix is so full-bodied and rich, and the track is beautiful. With my music, I’m used to working with different elements recorded separately, as with electronic music there isn’t much importance placed on instruments sounding like they were recorded live.”

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