Category Archives: TVD UK

The View’s gig in London last week wasn’t just a throwback to the mid-2000s music craze, it was a full-blown resurrection. Back in those days, I was knee-deep in the music biz stateside, witnessing UK bands like The Zutons, Kasabian, and of course The View, trying to strike gold in the US. It was a hit-and-miss game, mostly misses, if we’re being honest. The View, with their Scottish roots and Libertines-esque sound, caught everyone’s attention with “Same Jeans” and their debut Hats Off to the Buskers. But like many others, they were just a blip on the American radar.

Fast forward to the present, and a chance encounter with an article about The View reignited that old spark. Learning of their onstage “brotherly bust up,” I knew I had to catch them live before any potential split. Scala in London was the perfect setting, a sold-out show pulsating with energy and anticipation. From the first note to the last, it quickly became apparent that this was one of those cases where the record Hats off to the Buskers didn’t capture the magic and energy of the live show. It’s night and day to me, maybe it was the major label polish or maybe it was digital trumping analogue. 

Seeing The View in 2023 is like watching a band reborn. On stage, they radiate a confidence that teeters on the edge of cocky, yet somehow, it suits them perfectly. Gone are the days of leaning on their past hits. Instead, they’re dishing out fresh tracks from their latest album Exorcism of the Youth. Among these, “Dixie” is a standout. Kyle Falconer has morphed into a master of pop anthems, crafting songs that grab you by the collar and demand your attention.

This wasn’t one of those gigs where everyone was waiting for that one hit song. The audience was there for the ride, start to finish. Every new song built on the last, and by three-quarters in, the place was electric. The jam-packed crowd looked to be on the verge of a full-blown pit at every second. They ended without an encore, and honestly, they didn’t need one. They’d already proved their point.

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Exploding onto the scene, Twat Union are a new feminist punk band who are not afraid to speak their minds in the best way. Their hilariously outrageous debut single “UTI” is out now.

This all female seven-piece combine influences from the Riot Grrrl era with current punk trailblazers such as Dream Nails and Lambrini Girls. With wild, immersive gigs involving their distinctive provocative humour, the band don’t shy away from talking about things like period sex, thigh chafe, and the focus of this debut single: UTIs.

Talking about the single, front woman Kate Mac elaborates, “People don’t talk about UTIs very much, but most of us have had them, and most of us hate them (no kink-shaming if you like them but we would love to hear from you if you’re actually a fan). And if you don’t get them, we guarantee you know someone that does.

This song is for everyone to shout, laugh, cry, and generally express your anger about female and non-binary medical problems (we know some men get them too) and maybe we can change the narrative around when and how it’s ok to talk about issues down there.”

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Samantha Lindo’s latest musical endeavour, Ancestry, is a captivating exploration of identity and heritage that seamlessly weaves together diverse genres and influences. This highly anticipated released has been funded by the Arts Council and the MOBO fund of Help Musicians UK.

Ancestry is a compelling album that explores the stories from Samantha’s family history, including her great, great grandfather—a black methodist minister who defiantly married a white Scottish teacher in Jamaica in 1880. It also explores the history of his son, the Conservator of forestry of the whole island, who planted and protected the trees that are now under threat from the extreme weather and flooding of the climate crisis, as well as her grandparents who came to the UK in the fifties as part of the Windrush generation, all framing the expression of themes of climate justice, dual heritage identity, and inter-generational healing.

Each track takes us as the listeners on a journey, and sees Samantha’s warm, soul-tinged vocal soar effortlessly over stunningly rich soundscapes. From spiritual jazz to retro soul and even spoken word, the album oozes colour, confidence, and creativity. The first track on the album, “Child In Me,” introduces us to the theme and sound of the entire work. The solo piano we first hear is soon joined by Samantha’s incredible vocals and later layered by haunting strings, all in perfect harmony.

On “Child In Me,” Samantha says, “The writing process was inspired by nostalgic memories of aunts, uncles, and wider family members and reflecting on how the magic and joy of those relationships form part of the fabric of who we are. Last written but first on the album, ‘Child In Me’ is about those people now, despite complexity and family conflict, with the purity and innocence of a child. In a wider sense, it’s also about seeing hope and possibility, and boldly imagining a different future when we face so much complexity and crisis.”

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Fraser Morgan is a rising newcomer on the folk-punk scene, and he’s bringing all the vibes with the release of new single “Fell In Love Again,” in stores now.

The single is full of fun and oozes with a wonderfully chaotic energy from the offset. The backstory stems from Fraser meeting a girl on a night out in Colchester. Fraser elaborates, “I started writing this silly song about how my mum’s probably sick of hearing about my love interests. One night I played it at an open mic and people went mental for it, so here we are two years later and it’s still one of my most popular songs.”

Having already played over 900 gigs, Fraser has become known for his passionate live performances where he and his band share humorous one-liners between songs—whilst also delivering important messages on mental health within the songs themselves. Fraser is hoping to continue to captivate listeners with his infectious blend of artistry.

Last week, London was treated to a rare and intimate journey into the origins of one of the UK’s most seminal rock bands. Death Cult, the early incarnation of The Cult, concluded their UK and Ireland tour with a final, electrifying performance at the Islington Assembly Hall. This followed two sold-out nights at Electric Brixton, testifying to the band’s enduring appeal. Far from being just another gig, this tour finale offered a profound exploration into the raw, unpolished beginnings of a group that would go on to shape the landscape of goth, hard rock, and alternative rock for years to come.

With Lili Refrain setting the stage with her ambient sounds, the night was already off to an unorthodox start. But it was The Cult’s performance that truly captivated the audience. Ian Astbury appears to have tapped into a timeless wellspring of rock ‘n’ roll energy. He was a powerhouse on stage, belting out classics with a fervor that could rival bands of any era. The band, clearly at a peak in their musical journey, delivered a performance that was both a nostalgic throwback and a vibrant showcase of their continued relevance and dynamism in the rock scene.

The audience was a mosaic of generations—from weathered rock veterans to fresh-faced newbies, all united by their love for The Cult’s enduring sound. The atmosphere was electric, a testament to the band’s ability to transcend time and trends. Celebrating 40 years of musical evolution, the setlist was a meticulously crafted trip down memory lane, covering their metamorphosis from the post-punk Southern Death Cult era to the hard rock heights of The Cult. Highlights like “Spiritwalker” and “She Sells Sanctuary” weren’t just songs; they were anthems that reignited the fire in the hearts of fans both young and old.

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Sleep Walking Animals have redefined their folk identity with their new EP “PINK. YELLOW. RED.” in stores now via Black Sea Music.

“PINK. YELLOW. RED.” oozes with ethereal sonics from the offset with intricate production, vintage-pop choral harmonies, and electrical elements. These new elements are weaved around the foundations of their acoustically influenced songwriting creating something truly new and compelling for the listener. Paired with poetic lyricism and wistful atmospherics, “PINK. YELLOW. RED.” is a multifaceted collection of endearing shapes and sounds exploring themes of loss, love, and light.

The band has already sold out venues across the UK and have been aired on national TV and radio, most notably on Channel 4’s Sunday Brunch and Tom Robinson’s Introducing Mixtape.

Sleep Walking Animal’s “PINK. YELLOW. RED.” is a must-listen, and the band’s ability to evoke such a range of emotions makes this EP a captivating and memorable addition to their discography.

Barbarella is the eclectic alt-pop newcomer on the scene, and she’s getting frisky with her new single “Horny” out now.

Produced by Dave Randall (formerly of Faithless), this release oozes with sass and swag from the offset. Barbarella’s distinctive vocal takes centre stage as Dave’s synth-infused soundscapes pulsate vibrantly underneath. Barbarella explains, “I wrote this song after Glastonbury 2022, where I bumped into an old flame who I thought I didn’t like anymore… but I definitely still did. Nothing happened between us, which was probably very wise but also very frustrating. I guess I had a massive build up of libido energy, which was channelled and released into this song.”

Already being described as her generation’s Cyndi Lauper, Barbarella—aka Barbara Pugliese—has become known for her stunning, sensual, and intense live shows. Her band Barbarella’s Bang Bang formed within South London’s queer underground scene and have appeared several times at Glastonbury Festival, Boomtown, Fuji Rock and many more. We can’t wait to see where Barbarella’s fearless artistry will bring us next.

“Horny” is in stores now.

Get ready to groove with all female disco collective All Day Breakfast Cafe. Their vibrant new EP “Have You Seen This Queen” is an utter delight for the ears from the offset.

Channelling the likes of Ezra Collective whilst also having a clear love for old school funk and disco, All Day Breakfast Cafe are taking the London jazz scene by storm. Their latest EP is a fun-filled collection of upbeat bangers and dance floor fillers, and we can’t get enough.

Taken from the EP is their latest single “Adrenaline Rush,” a song about that moment of exhilaration. “You might feel it when you’re on the dance floor,” guitarist Jelly Cleaver elaborates, “when you do something new that challenges you or you do anything thrilling. This is your theme tune for that feeling and your reminder to do something that excites you… regularly! The whole EP is a tribute to female friendships and queer joy.”

These “personal hype women” are all about spreading joy and empowerment and we’re here for it. In fact, everyone involved in this project, from the band to the studio engineer, is female or queer. This collective are no strangers to the London live circuit and we hope to see them travel further afield in the very near future.

“Have You Seen This Queen” is in stores now.

In the heart of London on a shadowy Sunday night, the lost boys of metal, Finnish goth rockers The 69 Eyes took the stage. These enigmatic figures stand somewhere between the haunting melodies of Sisters of Mercy and the rebellious spirit of Billy Idol. Their music transcends boundaries, merging gothic rock with glam metal and a dash of classic rock ‘n’ roll—a unique concoction affectionately known as “goth ‘n’ roll.”

At the forefront of this dark spectacle was Jyrki 69, the charismatic Finnish singer who has long been the face and voice of The 69 Eyes. The band’s musical journey has seen them evolve from their glam metal roots to the captivating world of gothic rock, epitomized in their latest creation, Death of Darkness, released earlier this year. Over the years and since their inception in 1992, The 69 Eyes have produced a formidable catalogue of 13 studio albums, each a testament to their musical prowess.

As the lights dimmed, the audience was transported by the opening chords of the classic “Devils,” setting the stage for an enchanting night. The setlist was a carefully curated selection of their extensive discography, featuring four mesmerizing tracks from “Blessed Be” and a dynamic duo from their latest release, Death of Darkness—the eponymous title track and the pulsating “Drive.”

Jyrki 69, in his prime, prowled the stage, casting his spell with an alluring charisma that held the audience captive. The band’s performance was an electrifying spectacle, executed with precision and boundless energy. It was clear that these Finnish vampires had discovered the elixir of eternal youth in their music.

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Prepare to be mezmerised by London’s latest experimental jazz trio Intervention. Their debut single “Fire” is out now.

The single combines the group’s Latin, soul, jazz, and electronic influences, creating a sound that feels otherworldly. The song reflects the internal fire whose embers are within all of us. Drummer-percussionist Lya Reis Guerrero explains, “the innate drive to uplift our spirits, overcome obstacles, and emerge stronger than before. “Fire” serves as a symbolic anthem for personal reinvention and the courage it takes to embrace change.”

Intervention are Lya, vocalist Plumm, and internationally acclaimed Latinx pianist/producer Eliane Correa. Together they provide a unique journey where energy and euphoria are transmitted through improvisation. Despite this being their debut release, we’re certain we’ll be seeing much more of this eclectic trio in the near future. Watch this space…

“Fire” is in stores now.

Bristol-based newcomers My First Time have exploded onto the scene with the release of their raucous debut single “Wind Up Merchant,” out now.

Combining a post-punk energy with indie-pop swag, “Wind Up Merchant” is instantly infectious and packs a powerful punch. Talking about the single, the band elaborate, “we wanted the song to be ‘tongue in cheek’—an anti wind-up anthem. It’s the sort of track you could blast to drown out the ramblings of your annoying sibling or super conservative relative. The track shifts from the perspective of the ‘wind-up merchant’ themselves to the target caught in the crosshair.”

Newly signed to indie tastemakers Submarine Cat Records, we’re excited to see what this exciting young band get up to next.

“Wind Up Merchant” is in stores now.

Hailing originally from Long Beach, California, Rival Sons, with two Grammy nominations to their name, has seemingly discovered a more fervent following in Europe than in their homeland.

Their core lineup features the charismatic Jay Buchanan on lead vocals, the guitar maestro Scott Holiday, the reliable Dave Beste on bass, and the powerhouse drumming of Michael Miley. The band began their career on Earache, known primarily for their epic metal roster, and eventually moved to their current home, the legendary Atlantic Records, a label that housed many of their influences and stands as one of the most important record labels in history.

Touring in support of two new records in 2023, Rival Sons kicked off their UK tour on Friday at the legendary Roundhouse in London. With a career spanning over a decade, Rival Sons have not only carved their own path but have also evolved into something truly extraordinary—a modern-day equivalent of the mighty Led Zeppelin. Forget all the hype around Greta Van Fleet; Rival Sons are in a league of their own and continue to pave the way.

Look, I know everyone’s sick of the Zeppelin comparisons, but f*cking hell, the new album sitting alongside that classic Atlantic Records retro logo immediately took me back to the first time I heard that epic Zeppelin debut. You simply can’t deny the influence nor the ability of Rival Sons to put their own spin on it while continuing to evolve their sound.

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Newcomer to the Bristol indie-rock scene, Sean Edwards brings us a breakup song, “Give It Up,” but encompassed in a catchy and energetic rock track to take the sting out of the romance ending.

The driving power chords and minimal but rhythmic drums make for a stadium ready song which will be sung along to by all who hear it. These simplistic instrumentals make it easy to focus on the lyrics, allowing space for a story to be told which Sean believes is vital to his songwriting.

Sean describes himself as self aware, and the stories that he tells stem from real life experience. His music is a way to give himself advice and express understanding for personal growth. He also sees himself as a fatherly, but dry-humored figure, and seeks to help those who listen to his music to, like him, be introspective with their thoughts and feelings.

Sean is keen to make his imprint on the Bristol scene. With an EP on the way and plenty more music in the works, “Give It Up” is only the beginning for Sean Edwards.

Princess Goes, the band spearheaded by the multi-talented Michael C. Hall, graced London with their presence at the EartH theatre in Hackney this past Sunday. The night was charged with the electric anticipation of a band returning in support of their freshly released album.

For everyone seeing the band live for the first time, the burning question is does Princess Goes live up to its theatrical title, and can Hall match the buzz of his acclaimed acting career with his musical prowess? The answer is a resounding yes. Hall doesn’t just shine on screen; the man possesses remarkable vocal chops. Their eclectic mix of tracks is hard to pin down, but the set exuded vibes reminiscent of a fusion between a polished Sisters of Mercy and a slightly less flamboyant Scissor Sisters. Picture the richness of synth sounds blending with dark undertones, interspersed with bright, pop-inspired melodies. Notably, Hall’s foray into falsetto was a highlight.

Princess Goes is not your run-of-the-mill ensemble. Their history is as impressive as their sound. Born from the creative camaraderie of working on Broadway’s Hedwig and the Angry Inch, the trio boasts some significant credentials. Hall, of course, stands out with his iconic roles in Dexter and Six Feet Under, and a musical track record including Broadway stints in Chicago and Lazarus.

Peter Yanowitz, the band’s drummer, boasts a remarkable musical resume. As an original member of The Wallflowers and with significant contributions to Morningwood, particularly the standout hit “Nth Degree,” his musical prowess is evident. He also collaborated closely with Natalie Merchant, playing an instrumental role in her brilliant debut Tigerlily. Yanowitz’s influence is clear in tracks like “Let it Go” and “Blur.”

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London-based pop newcomer Cate recently released her new single “One Hit Wonder,” but we’re pretty certain this won’t be the case for her…

Drawing influence from early noughties country pop records, “One Hit Wonder” is an end of summer anthem which reflects on a past lover who emulates the same excitement and sudden abandonment as a one hit wonder does. Referencing Thin Lizzy’s “The Boys Are Back In Town,” Fountains of Wayne’s “Stacy’s Mom,” Toploader’s “Dancing in the Moonlight” alongside many more, Cate’s lyricism continues to flare with creative artistry.

Talking about the track, Cate explains: “I wrote ‘One Hit Wonder’ with my friends last summer after making a joke that a man that I was dating was one. Then the joke went a bit too far when we wrote a whole song out of a whole bunch of one hit wonders. It’s about someone who only really gives you one good summer of fun, but never anything else. And as much as you want to get the song out of your head—you just can’t.”

We had the pleasure of catching Cate perform live when she supported Maisie Peters in Cardiff earlier this year and we certainly feel like she’s living up to the hype. Cate shows no sign of slowing down, with a support slot for Australian singer songwriter Gretta Ray kicking off this month across Australia and a UK headline tour all happening this year.

“One Hit Wonder” is in stores now.