Category Archives: TVD UK

The festive season is well and truly upon us. and to celebrate we’ve got a Christmas cracker of a song for you. Australian singer-songwriter Carla Wehbe has been making waves for a while now, and she recently dropped her latest single, “christmas doesn’t feel the same without you.”

You’ve never met an artist quite as exhilaratingly odd as Carla Wehbe. An elusive trait often misunderstood but highly prized in the music world, Wehbe’s unconventional uniqueness of vision has become the hallmark of the likes of Bowie and Mercury. Charming, celestial, and utterly infectious, this latest cut is the perfect addition to your Christmas-themed playlists. Carla’s soft, sultry vocals soar over the vibrant musicality, sounding akin to the likes of Sabrina Carpenter or Gracie Abrams.

From her independent beginnings with the 2020 single “Don’t Tell Me” through to her critically acclaimed 2023 EP “Jupiter and Mars” and supporting international superstars on their Australian tours, including The Chicks, Alec Benjamin, Benson Boone, and Teddy Swims. She has recently wrapped up touring with Peach PRC on her Australian tour.

“christmas doesn’t feel the same without you” is in stores now.

Singer-songwriter Eva Penney soothes us into the week with the release of her captivating new single “you sound like the dolphins!,” out now.

Born from a demo made in a single afternoon, this song is a true capsule of time, made even more final in the production process by being recorded onto reel-to-reel cassette tape. This track is one of Penney’s more understated projects, however it feels no less anthemic as Eva’s rich, warm vocal soars effortlessly over the beautifully delicate musicality. It features mechanical clicks and sweeps of the analogue cassette recorder and gentle synth hums and squeaks, often mistaken by listeners for dolphin sounds.

Eva Penney has always been honest in her music, constantly treading an uneasy line between metaphor and truth. With a sound inspired by alternative and acoustic folk, the electronic and DIY elements weaved into her recordings and performances create a unique and warming listening experience.

“you sound like the dolphins!” is in stores now.

Finally, the beast has been unleashed. After playing it safe on his sophomore effort The Ides of March, Myles Kennedy has rediscovered his swagger—and London got a front-row seat to the resurrection. Opening with “The Art of Letting Go” from his new masterpiece of the same name, “Hey… hey… hey let it roll” sang Kennedy, with a wall of sound driving behind him. This is clearly a statement from Kennedy, and one that everyone immediately understood.

Forget everything you know about Myles Kennedy’s solo work. The Art of Letting Go is the bastard child of The Mayfield Four’s Second Skin we never knew we needed. And holy shit, the reunion with Mayfield Four drummer Zia Uddin ignites pure dynamite. Their chemistry is explosive—two veterans trading “fuck yeah” looks across the stage like teenagers who just discovered their first power chord. This isn’t nostalgia; it’s resurrection.

The new material absolutely soars live. “Behind the Veil” (Kennedy’s personal favorite) starts like a bluesy ballad before the main riff kicks in and hits like a freight train, and the reworked cuts from Year of the Tiger proved that even his acoustic numbers can grow fangs when plugged in. What’s even more interesting it that Kennedy’s doing it all with a power trio. No smoke and mirrors, no army of guitarists to hide behind. Just one man wielding his axe like he’s got something to prove, while somehow maintaining that otherworldly voice that makes even the best metal singers sound like choir boys.

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Watch out! There’s a new hyper-pop girlie on the scene and she means business. Saila’s debut single “So Far” is out now via So, Let’s Talk.

Based in the UK, rising star Saila has already had her music featured in Marvel blockbuster Eternals, as well as having a publishing deal with Fat Pigeon Publishing / Kobalt Music Group. She has just dropped her infectious debut single “So Far” and it’s oozing with sparkle and celestial soundscapes. Fans of the likes of PinkPantheress and NewJeans will feel very much at home here.

Talking about the single, Saila says, “’So Far’ was me having a conversation with myself earlier this year when I was really lost and unsure. I needed a reminder to be kind to myself, to recognise how far I’ve come, to be brave and keep going. I didn’t write ‘So Far’ thinking it would be my first single, but the year went on and I found myself going back to that song for support again and again. I think a lot of people feel the way I felt, and maybe they need to hear the same words I did, so here we are!”

“So Far” is in stores now via So, Let’s Talk.

Eclectic indie electro artist Marek Kubala has made a mark on the UK music scene in recent years. His expansive use of electronic soundscapes mixed with soaring guitar has garnered support from BBC 6 Music as well as a plethora of influential Spotify playlists. Now, he returns with the release of his latest cut, “Peeping Tom.”

The track is taken from Marek’s latest EP, also titled “Peeping Tom,” and is an example of his ability to combine retro sonics with contemporary production. “Peeping Tom” is a polished electro tune that conjures comparisons with bands such as Depeche Mode. Shimmering vocals are spliced with menacing synths, as the track builds ominously throughout, to create a mature piece of alternative pop music.

Marek describes the EP as a record that combines the futuristic soundscapes of NZCA Lines with the ambitious new wave influences of Talk Talk. With production coming from longtime Brian Eno and Jon Hopkins collaborator Leo Abrahams, “Peeping Tom” encapsulates Marek Kubala’s distinctive take on modern electronic music.

“Peeping Tom” is in stores now via Shore Dive Records.

“Wembley Arena! I have waited since I was 16 years old to say that!” exclaimed Remington Leith, and you can’t help but share in the genuine excitement. Having watched Palaye Royale’s steady climb from clubs through theatres and now to Wembley Arena, tonight feels less like a surprise and more like a natural progression for a band that’s paid their dues.

The brothers have always understood the theatre of rock and roll, and tonight they dial it up appropriately for the legendary venue. Fire, sparks, and well-timed confetti create moments of spectacle without overwhelming the music—a balance many bands struggle to strike in their transition to larger venues.

Touring in support of their fifth album Death or Glory, the new material sits comfortably alongside their established catalog. “Showbiz” and “Dark Side of the Silver Spoon” particularly stand out, offering glimpses into the band’s relationship with the music industry, though never descending into self-indulgence. Seven songs in all from the latest record, bucking a trend where most bands can barely squeeze in more than two new songs without sending their fans to the loo breaks and back to the bar.

Leith’s distinctive vocals, which have become increasingly confident over the years, fill the arena with the same intensity they once brought to smaller rooms. The fan favorites were there too—”No Love in LA,” “Dying in a Hot Tub,” “Broken,” and “Fever Dream.” Notably absent was “Get Higher,” their ready-made arena anthem that seemed tailor-made for a venue of this size.

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Dolores Forever are a transcendent duo who have recently released their stunning debut album It’s Nothing, out now via Sweat Entertainment.

Influenced by the likes of Haim, Mitski, and Sharon Van Eaten, Dolores Forever’s debut is an oozing tapestry of rich sounds and sentiment throughout. Talking about the album, the band says, “It’s taken from a line in [album track] ‘Go Fast Go Slow’: ‘I lie in bed at night and I pretend it’s nothing,” Hannah explains.

“Usually, when somebody says ‘oh, it’s nothing’, it actually means it’s really something. That’s sort of a theme across this record, really. It’s about us reconciling with our position in the wider world; we’re too loud, too big, too opinionated for certain sections of society, so it’s easier to just say ‘it’s nothing’ than get into it. On the other hand, it’s also mildly a joke between us because it’s our debut, so it means everything to us. To call it It’s Nothing just made us laugh!”

Julia, from Copenhagen, and Hannah, from Yorkshire, were introduced to each other by a mutual friend at a party who thought they’d get on well. Both have a background in music and songwriting, and shortly after, Dolores Forever was born. This friendship has underpinned the band’s whirlwind rise since releasing their first single, “Kilimanjaro” in 2021.

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Let’s be honest—I never expected to be writing this review. James Blunt’s Back to Bedlam 20th-anniversary release just landed on my turntable in all its red recycled vinyl glory, and I’m sitting here wondering why we all decided to be such jerks about this album. 13 million copies sold? After giving it a proper listen, I get it.

Here’s the thing about Blunt—everyone got so caught up in the “You’re Beautiful” hysteria that they missed what’s actually happening here. The guy can write some serious hooks. Even he admits that his biggest hit isn’t exactly his proudest lyrical moment, but holy shit can this guy write a catchy tune.

What really got me were tracks like “High” and “Wisemen”—proper songwriting that somehow got overshadowed by all the noise. And “No Bravery”? That’s not just another pop song, that’s someone who’s actually seen some stuff and knows how to tell the story. After serving in the military and seeing some of the shit that he’s seen, Blunt earned the right to write about whatever the hell he wants

This remastered version brings new life to these tracks. The red recycled vinyl release feels like a fitting tribute to one of the Noughties’ best-selling albums. In typical Blunt fashion, he jokes about “milking it for all it’s worth,” but honestly? This release deserves the attention.

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British powerhouse Whitey—aka NJ White—has exploded back onto the scene with the release of his triumphant double album MENTAL RADIO, out now.

The album is a sixteen track tour de force that certainly takes you on a rollercoaster of a ride. A chaotically colourful clash of genres, styles, and moods, it’s hard to pin this album down at times but surely that’s the beauty of it? Pulling influences from across decades of sound and putting it through the Whitey blender creates something fresh—an album that is in turn furious, raw, amused, politically razor sharp and poignant—a satirical take on 21st century life—a musical pop art collage.

Stand out tracks include previous singles “CHERRADE,” “THIS IS FOREVER,” and “LITTLE PIGGIES.” Whitey has just released a brand new video for “LITTLE PIGGIES” to aptly coincide with the US election. A vibrant combination of classic, alternative, and glam rock, “LITTLE PIGGIES” is an infectious floor-filler with a powerful sentiment behind it.

Talking about the single, Whitey elaborates, “It’s a ballsy political swipe, a proper protest track that references Animal Farm, Three Little Pigs, the American political divide, Trumpism, and personal responsibility. The song started from a place of amused cynicism at many peoples’ inability to see The Wolf before their eyes, then gradually became a song with a more urgent feel as events unfolded over the last few years.

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Ahead of the official film release, Scottish artist Megan Black shares “Something Golden,” a new single she’s written for an upcoming British short film called The Programme. The film premiered this spring in Digbeth, ahead of showings at several film festivals and a general release on 7th November 2024.

Megan Black’s haunting soundtrack skillfully captures the film’s dark undertones while infusing it with heart and grit. Talking about the song, Megan says, “I started working on this project whilst I was going through my own diagnosis of autism and ADHD. I felt real grief and a sense of loss that I had never really understood myself. Sam and the team behind The Programme have been a joy to work with—they really understand what it means to be neurodivergent and why spreading this awareness is so important. Grief in my own life had left me feeling numb and writing this soundtrack came along at the right time—it was healing—there really is ‘something golden’ about that.”

The Programme is the first short film from award-winning writer and director Sam Grierson. It was an Official Selection at the Little Venice Film Festival, New York International Women’s Film Festival, and Sykehouse Film Festival, with a nomination for Best Actress for Michelle Jeram (BBC Granite Harbour, Liar, Eastenders, The Split).

The work began after a two-year writing hiatus triggered by the devastating loss of Sam’s best friend to suicide. The resulting film sparks reflection and reshapes perceptions, encouraging an understanding of the intricate layers of grief and the complex intersectionality of neurodivergent experiences. Sam is LGBTQIA+, autistic, and ADHD. Grierson’s film exposes us for believing in stereotypes, exposes society for marginalising people, and displays in no uncertain terms that everyone deserves to be centre stage. A neurodivergent subject encourages us to examine universal fears.

Emily Brimlow is a soul-pop singer playing by her own set of industry rules. She’s just dropped her new EP “Burnt” and it’s a stunningly summer-tinged delight from start to finish.

Known for her whimsical, “beachy” vocal stylings and unique blend of world music and R&B, the Canadian-born singer pairs her wide spectrum of life experiences and diverse story-telling sensibilities. Emily’s sugar sweet vocal compliments the lighthearted indie-popness of the song effortlessly, creating a sound akin to the likes of Jerry Williams or Maisie Peters.

Emily has proven to be a force to reckon with in this new wave of young, genre-bending, independent artists seeking to break beyond industry limitations. Ambitious in her pursuit to ensure each song is fresh and slightly different than the last, Emily draws inspiration from the present day while still leaning on her musical roots. Originally from BC, Canada, Emily now resides in Huntington Beach, California.

“Burnt” is in stores now.

Jet stormed the O2 Kentish Town Forum last weekend with the subtlety of a sledgehammer, obliterating any doubts about their staying power. The Aussie rockers unleashed a blistering set that shook the venue to its foundations and rekindled the raw energy of their early 2000s heyday after a 15-year absence from UK stages.

Let’s cut to the chase, “Cold Hard Bitch” might just be the best rock riff of the 2000s. Period. When those opening notes hit, it was like a jolt of electricity. If you weren’t losing your shit with the rest of the crowd erupting and singing every word then you were clearly in the wrong place.

These guys aren’t just coasting on past glories. Their new track “Hurry Hurry” is a sonic time machine, hurling us back to the fuzzy, dirty rock of the late ’60s. It’s Jet shifting gears, trading their usual late ’70s swagger for a grittier, more psychedelic romp. The relentless beat is still there, but now it’s wrapped in layers of fuzzy guitar that sound like they’ve been dragged through a Marshall stack and back. There’s a hook buried in that beautiful mess that’ll have you humming for days. Nic Cester’s calling it “a little appetizer” for their upcoming album.

Jet’s evolved sound is matched by their sharpened image. Cester struts on stage in white tailored jeans that flirt with bell-bottom territory, paired with sleek cowboy boots and a simple shirt. It’s a look that screams rock star confidence without trying too hard. The rest of the band follows suit, each member sporting their own version of cleaned-up rock ‘n’ roll cool. It’s clear they’ve traded their scruffy early-days of leather for a more curated edge, but their sonic punch remains as potent as ever.

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Irish alt-rock quartet NewDad are very hot on everyone’s lips in the UK (and of course Ireland) right now and we can see why. With their debut album Madra already gaining them critical acclaim, we’re excited to see what 2025 will bring for this young band.

NewDad’s latest single “Under My Skin” is a shoegaze-infused delight channeling the likes of Wolf Alice and Lime Garden. The song has been featured on the latest soundtrack of the game Life Is Strange, a game the band grew up playing themselves and consequently, a “real full circle moment” for them.

The irresistible appeal of songwriting is the opportunity to give voice to the ineffable. For NewDad singer/guitarist Julie Dawson, music has always served as a safe haven for articulating what she struggles to express elsewhere—a place where she can explore her deepest emotions without compromise.

“Under My Skin” and debut album Madra are in stores now.

If you haven’t seen The Struts live yet, what the hell are you waiting for? After catching them for the sixth time at Camden’s Roundhouse, I can confidently say they’re only getting better. This co-headlining gig with Barns Courtney wasn’t just another show—it was a goddamn revelation.

From the moment The Struts hit the stage, it was clear the road has been more than kind to them. They were loose, they were tight, they were fucking glowing. Opening with the cocksure “Primadonna Like Me,” they steamrolled into “Fallin With Me” (possibly their best track since “Kiss This”) and then “Body Talk.” Three bangers, no breathers—that’s how you start a rock show, kids.

The setlist was a masterclass in pacing: “Too Good at Raising Hell,” “Dirty Sexy Money,” “The Ol’ Switcheroo”—hit after hit, with nary a dull moment. By the time they reached “Kiss This” and “Could Have Been Me,” the crowd was putty in their hands. Here’s the kicker: The Struts have outgrown their time slot. They need two-hour sets, minimum. There’s just too much gold in their catalog now.

But let’s talk about the revelation of the night: Barns Courtney. I’d stumbled onto him through his guitarist, Andrew Martin (Palaye Royale, LP), and holy shit, am I glad I did. Courtney’s bringing a fresh energy to the scene, blending bluesy, swampy vibes with high-octane singer-songwriter chops. Think Black Keys with a touch of Faces—it’s rootsy, it’s raw, and it’s utterly captivating.

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Rising singer-songwriter Yuneki’s debut EP “Born Without Skin” is out now. Its a vibrant collection of indie-pop vignettes proving this seventeen year old is certainly one to watch. Taken from the EP is new single “Over Again.” 

Following the introspective “Sleepwalking” and the sweet “Like Honey,” “Over Again” carries a certain casual intimacy. Yuneki’s voice, crafted to narrate poignant stories, weaves through delicate piano lines and an uplifting chorus. Her debut is positioning her as a fresh, relatable Gen-Z voice, aiming to offer solace and connection to anyone navigating tough times.

Speaking about her new single release, Yuneki describes, “‘Over Again’ is about my internal voice. Resenting myself for making the same mistakes so many times and fear that everyone I love will give up on me.”

Raised in Cambridge on a musical stew of Lauryn Hill, Erykah Badu, and Lady Gaga, Yuneki spent her formative years penning down big feelings at a time when she struggled to fit in. She started turning those inner thoughts into lyrics when she was eleven and began singing lessons around the same time.

At fourteen, Yuneki was already in studio sessions and working with producers. She’s now landed a record deal with 23 Recordings, a new indie imprint created by ADA and Atlantic Records.

“Born Without Skin” is in stores now.