LIVE: Shania Twain – BST Hyde Park, 07.07.2024

I think the first CD that I ever bought with my own money was Shania Twain’s 1997 second album Come On Over; it was either that or All Saints’ debut album that came out the same year. I was eleven and had been brought up on a solid musical diet of ‘70s rock and ‘90s brit-pop – loathe to conform to the pop mania of the time (for my 12th birthday fancy dress party, to my shame, I actually banned anyone coming dressed as Spice Girls, but my request was ignored and I think we at least had a Baby, Sporty and Posh in attendance) -, but something about Twain and her catchy country-tinged anthems had me singing and dancing along; captivated by her seemingly empowering lyrics and fierce-yet-playful presence. Then, as my mid teenage years had me fully immersed in grunge and emo, I thought I had grown out of my Shania fandom and gave away the CD to a (much cooler, clearly) cousin, but little did I know that my adoration was already deeply ingrained in my being; Twain’s music and resolute strength of character continuing to be a consistent source of joy and motivation to this day. Getting more into country music over the last few years has also helped revive my admiration of the Canadian icon, delving further into her back catalogue and development as an artist throughout her career, whilst watching the 2022 documentary Not Just A Girl – discussing her rise as a star, break-up of her first marriage, her support for the LGBTQ+ community, and struggle with Lymes disease – really endeared her to me, offering valuable insight into that inspiring determination and unrelenting energy that had first drawn me to her back in 1997. 

So, needless to say, I did not hesitate to take up the opportunity of seeing Shania Twain live at BST Hyde Park last weekend. 

We arrived at Hyde Park literally just in time to catch Australian star Natalie Imbruglia’s set. Her 1997 debut Left Of The Middle is actually another contender for one of the first CDs I ever bought (1997 was a great year it seems!), and I subsequently learned every heartfelt word to every song on the album; belting them out in my bedroom in secret on a near-daily basis. And my knowledge of each of her emotion-strewn lyrics comes miraculously flooding back to me throughout her short but very sweet thirty minute set. Kicking off with ‘Wishing I Was There’, she skips across the stage with a refreshing enthusiasm and energy, before insisting that she is maintaining composure throughout the delicate vulnerable melancholy of ‘Smoke’ (“I’m not crying, it’s just the wind!”). As a gritty musicality continues to accompany her rich syrupy vocals for classics like mega hit ‘Torn’ and my personal favourite ‘Big Mistake’, in addition to catchy new song ‘Habit’, Imbruglia proves that she’s still very much got it; with a sparkling splendour she oozes a warm presence whilst delivering each singalong offering with all the crystalline grace and earnest emotion that eleven year old me could have hoped for. 

After catching the end of fellow aussies Germein’s uplifting set over on the Birdcage stage, we return to the main stage to see country-pop star Elle King. I hadn’t thought I knew who she was, but as soon as the first few catchy bars of ‘Ex’s and Oh’s’ kicked in, I realised I’d been including her on many of my ‘Women Of Country’ playlists over the last couple of years. From songs about her penchant for partying (‘Drunk (and I Don’t Wanna Go Home’)), to her deep unconditional love for her young child (‘Lucky’), each and every song exudes a fiercely cool attitude and impassioned colourful energy. A new favourite for sure. 

Our first taste of Ireland for the day comes from young band Dea Matrona. Fronted by besties Orlaith and Mollie, they deliver heartfelt country-tinged rock anthems with a glistening energy. The set, consisting of songs from their recently released debut album For Your Sins, not only showcases their evident closeness as friends and an endearing warmth of spirit, but an immense musical prowess, both Orlaith and Mollie swapping between bass and guitar and blasting out racing riffs with a seemingly effortless grace, whilst backed up by ‘the guys’ on rhythm guitar and drums. Fully immersing the crowd in each exquisite offering, including an impressive cover of Prince’s ‘Kiss’ and the delicate emotion of acoustic interlude ‘Glory, Glory (I Am Free)’, Dea Matrona cement themselves firmly as ones to watch, fully worthy of sharing a line-up with legends like Shania Twain.

And on to our second Irish band of the day, another late nineties fave of mine, The Corrs. Unlike with Natalie Imbruglia and Shania, however, I don’t think I had to buy The Corrs’ albums myself as my dad was also a fan, so I had easy access to their lush folk-inspired pop by just popping downstairs and stealing 1998’s Talk On Corners from his collection. Kicking off with the first track from that album, ‘Only When I Sleep’, the four siblings deliver a completely flawless set; looking and sounding as utterly immaculate as you would expect. With a set spanning their career, from debut album title track, ‘Forgiven Not Forgotten’, through to 2015’s ‘White Lies’, each offering exudes a soaring rich musicality and interwoven crystalline harmonies, so perfect they’d make you weep. But, in addition to the expected exquisite grace and beauty that exudes from the stage, The Corrs also showcase a wit and modest affability throughout – with front woman Andrea prefacing ‘What I Can Do’ with the caveat “it’s shameless to beg, but I thought it was a good idea at the time”, and drummer/percussionist Caroline oozing an immense sense of cool throughout as she switches between instruments, consistent in her fierce timekeeping -, as well as being incredible musicians and vocalists, The Corrs just come across as lovely people; delighted to be sharing their creations with an enthusiastic crowd. Seamlessly fusing together traditional Irish folk with catchy heartfelt pop, they do not disappoint, leaving me feeling both nostalgic and hopeful. I definitely recommend catching them on their upcoming tour (with Natalie Imbruglia!) this autumn. 

As the excitement for Shania Twain builds, it strikes me that every act on stage today has been female, or female-led, and that’s nice to know; a perfectly Get In Her Ears-friendly line-up. Good on BST Hyde Park for putting it together, though I feel that it does not need to be emphasised or made a big deal of; it only goes to show that it isn’t hard to find female headliners and big stage fillers, despite what some festival organisers may have you believing. And it’s pretty lovely looking out at the crowd, women and girls spanning multiple generations, alongside queer groups and allies, all there for one reason; to see Shania Twain. Alongside her incredible band, she takes to the stage to with opening number ‘Don’t Be Stupid (You Know I Love You)’ – an eleven, and thirty eight, year old me’s dream. Immediately immersing us all in her effervescent glow, she buoyantly bounds from one side of the stage to the other, keen for us all to see her and take in as much of her infectious joyous charm as possible. As she comes to the end of second song ‘You Win My Love’, from 1995’s The Woman In Me, she politely asks for a tissue, adding “I’ve got a little sniffle, but who cares?!”. If anyone can get away with blowing their nose on stage, it’s Shania. In fact, seeing her not ashamed of doing this only makes me love her more. Nostrils cleared, she poignantly states “life is for dreaming” as an introduction to 2023’s ‘Waking Up Dreaming’, before launching into the playful allure of 2002’s ‘I’m Gonna Getcha Good’. And I’m just blown away by the immense glistening energy exuding from the stage, not only from Twain herself; but the other musicians- Tiffany Lamson on drums and Lindsay Ell on guitar, in particular, standing out with their swirling impassioned drive. 

Then the band leave Shania alone with an acoustic guitar and backing singer, Paul, to treat us to a stirring rendition of ‘Still The One’. Probably a little shorter than we’ve come to know it, due to Shania’s different vocal range resulting from Lyme’s Disease (or perhaps just having a cold!), it’s just as heart-wrenchingly beautiful as ever; seeing Shania still willing to reveal this vulnerability and delicate emotion being particularly moving. 

As the wonderful band rejoins her on stage, Shania expresses her gratitude for the way in which her music is still appealing to multiple generations; citing Harry Styles as a fan “because his mum would play my music in the car over and over”. This lovely sentiment seems epitomised by a little child in front of us, who can’t be more than about eight, sitting on the shoulders of her mum/aunt/carer wearing a cowboy hat, feather boer and Shania tee, who has literally been singing along to every single word of every single song played so far. And Shania herself is gushing with all the excited energy of a teenage girl throughout the set, donning her own sparkling cowboy hat for country-strong hits ‘Any Man Of Mine’, ‘Giddy Up’ and ‘Whose Bed Have Your Boots Been Under’, before dashing across the stage to hug a tree; she just seems truly thrilled to be here, and the feeling is so mutual. After dividing us up to sing ‘Honey, I’m Home’, taking time to allow each half of the crowd to practise (and apologising for being a perfectionist), another stripped back interlude comes in the form of ‘From This Moment On’; with backing singer Paul providing sugar-sweet harmonies, it soars with a heartfelt anthemic splendour. As I’m reminded of ‘choreographing’ a dance to ‘That Don’t Impress Me Much’ when in middle school, it’s such a joy to witness the sheer sense of fun and cheeky spirit oozing from the stage for the 1997 classic, before Shania asks us – tissue in nose – “are you ready to rock?!” as she launches into ‘Rock This Country’. And I don’t think I’ve ever seen anything as rock ‘n’ roll.

Ending the set with the imfamously feel-good ‘Man! I Feel Like A Woman’, Shania Twain is everything I hoped for and more. I had no doubt she would put on a fun show, but the absolute clarity of each song, along with the endearingly wholesome enthusiasm and effervescent energy that she puts into every single second of her performance is truly life-affirming. A fiercely joyous experience, uniting fans of all kinds in their love for the comforting, empowering energy that Twain offers.

Mari Lane / @mari_getinherears

Photo Credit: Dave Hogan

Deer Shed Preview: Interview with The Go! Team

Celebrating the 20th anniversary of their pivotal debut album Thunder, Lightning, Strike this year, The Go! Team are set to bring their joyous energy and fizzing genre-defying sounds to the main stage of Deer Shed festival on Sunday 28th July. With seven albums under their belts, their live shows are a pretty uniquely euphoric experience to be a part of; so prepare to be swept up in gleeful ecstasy by their soaring funk-fused cacophonies and swirling sunny charisma.

We caught up with the band, fresh from their set at Glastonbury last weekend, to find out more about their live shows, kids on tour and the challenges of the industry today… Have a read, then check out our playlist of bands and artists – including The Go! Team – that we’re most looking forward to checking out at Deer Shed Festival at the end of this month.

You’ve just played Glasto, for the the fourth time! How was that for you? 
Yeah, it went like a dream! We were up against Shania Twain, I believe – clash of the titans.  

And how did the experience compare to the other times you’ve played the festival? 
The first time we played in 2005 the PA died, so that was a disaster, so anything is an improvement after that… We have seven albums of songs to pull from, so we can kinda do a “greatest hits” set!

As a band known for the joyous energy of your live sets, how do you normally prepare for your performances? Do you have any sort of special routine that you do together before playing? 
Well, we don’t do a Madonna-style prayer circle or anything! It’s always been an unspoken thing that we bring it in the live shows – it was never discussed really. Ninja can be asleep five minutes before show time and the next moment she’s doing cartwheels. 

I was lucky enough to see you live back in 2018 at Electric Ballroom in Camden, after having been a massive fan as a teen in the early noughties, and it was such an uplifting experience! Is there a particular show you’ve played over the last twenty years that stands out as a highlight or especially memorable for you?
Selling out the Roundhouse in Camden was a big one for me. We still feel like a cult band to me – a well kept secret. So, that was a big deal.  

And you have a few more festivals coming up this summer, including lovely Deer Shed Festival at the end of this month – are there any particular festival essentials that you like to take with you to get through a weekend of camping? 
Just an olympic weight frisbee. 

As I’m sure you’ve seen, Deer Shed Festival places a particular focus on being as family friendly as possible, with loads of amazing activities for children, and just a really lovely intimate and safe vibe. With some of you being parents of small children, is this something you think is important for festivals to try to embrace? 
Yes, Ninja and Nia in the band have young kids. They actually both took them on a West Coast USA tour recently – from Vancouver down to LA. Touring and kids aren’t really supposed to go together so I can’t believe how they made it happen! As you can imagine, we come off stage late, but the kids will still be up at the crack of dawn, so it pushes you to the limit. So, respect to them.

For children and young people who want to get into playing music or start a band, what advice would you give? 
Less shredding – more angle. It doesn’t matter about being the best player, but bands should take an approach and decide what they are. I love the idea that bands exist in their own unique universe. 

And what is your opinion of the opportunities that are on offer for young people in the arts at the moment? Would you say it’s got any easier or more difficult to get involved, and be heard, in the music industry now than when you started out? 
It’s kind of mixed. The barriers to making music are down in some ways, as you can record at home cheaply and stick it up on streaming, but it’s easy to get lost and it can feel like everyone is clambering to be heard. For a minute it looked like the majors were fucked, but they were shrewd enough to just own the streaming world… 

As we’re an organisation with a focus on supporting women and queer people in music, I just wondered how you feel the industry is for them today? Do you feel much has changed over the years in its treatment of them, and other marginalised groups? 
When we started in the mid noughties it did feel more like a ‘boys club’ to me, and The Go Team was a kind of response to the bullshit NME ‘lads-on-tour’ fantasy they were peddling. I’ve always loved bands with mixed genders, and am always a bit put off by bands that are just full of blokes.

And are there any new artists or bands that you’ve come across recently that you’d recommend we check out? 
I really like a fella called Charif Megarbane – he does amazing kinda library inspired groovy instrumentals 

Finally, in addition to playing lots of live dates, what else does the rest of 2024 have in store for The Go! Team?
We’re heading back to East Coast USA. We’ll be there around election time, ending up in Washington DC the day before, which will be terrifying but pretty interesting! Will be steering clear of the Proud Boys, but apart from that I will be continuing my life long mission of trying to make schizo channel hopping sounds – I really want to push harder with wildly different genres sellotaped into the same song. 


Massive thanks to The Go! Team for answering our questions! Check out their special 20th Anniversary edition of Thunder, Lightning, Strike, which is out now on translucent red vinyl via Memphis Industries. We can’t wait to see their set at Deer Shed Festival, along with an eclectic range of other awesome bands and artists that we’re excited to be seeing, including CMAT, Los Bitchos, Liz Lawrence, Personal Trainer, Jessica Winter, Cerys Hafana, Nana Benz Du Togo and Picture Parlour. In addition to loads of lovely music, Deer Shed also prides itself on its family friendly focus, hosting a variety of activities such as kayaking, skateboarding, tree climbing and a ‘nurf gun arena’! There’ll also be some great literary voices featuring at the festival, including John Niven, Simon Armitage and Vanessa Kisuule. Something for everyone, basically. Plus Get In Her Ears will be DJ-ing at the In The Dock stage on Friday night, treating y’all to some of our favourite danceable tunes by women and queer artists – not to be missed! 

Deer Shed is just a few weeks away – from Friday 26th July to Sunday 28th July – and tickets are running very low, so nab yours here now! And listen to our playlist of bands and artists that we’re most excited about seeing at the festival to get you in the mood here.

Photo Credit: David Richardson

PLAYLIST: June 2024

The Get In Her Ears team have put together another mix of feminist punk, queer anthems, alternative & shoegaze sounds, eclectic electronic tracks, indie-folk musings, and alt-pop tunes for your listening pleasure. Take some time to scroll through our track choices below, and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to hear all of our previous playlists too.

 

ARXX – ‘Good Boy’
Wow, it seems like it’s impossible for total faves ARXX not to write a song that gets instantly lodged in your brain and demands listen upon listen; each listen making you feel more and more uplifted. I just can’t get enough of latest single ‘Good Boy’s thumping beats and anthemic energy. They describe this track as their “big gay anthem… A little bit saucy, a little bit cheeky and a lot of fun!” As well as listening to the track multiple times, you should also watch the video – the dogs are cute, Hanni and Clara are cute, it’s a whole lot of cute.
(Mari Lane – Managing Editor)

SASAMI – ‘Honeycrash’
I was late to the SASAMI party, first discovering her in 2022 when she released her genre-blending metal-folk album, SQUEEZE. ‘Honeycrash’ is her first piece of new music since then, and it’s a glorious, full-bodied, passionate anthem about the complexities of love and relationships. SASAMI explains: “I wanted to write a song with all the drama of a 19th century classical opera, but with the patience and understanding of someone in therapy in 2024,” and on ‘Honeycrash’ she has achieved exactly that.
(Kate Crudgington – Features Editor)

Seraphina Simone – ‘Wild’
This is the title track from Seraphina Simone’s shimmering new EP. ‘Wild’ is Seraphina’s statement of rage, shifting self-worth, grief and sadness; all beautifully polished into a bright collection of alt-pop gems. (KC)

Æ MAK – ‘Low Down’
Lifted from her new EP, ABC SIDE Baby, this single from Irish art-pop artist Æ MAK is about “hitting rock bottom after a break-up, almost basking in it, and finding your power again”. I love this phoenix-rising-from-the-ashes sentiment, set to an infectiously upbeat mix of heady synths and dancing beats. (KC)

SOPHIE – ‘Reason Why’ (ft. Kim Petras and BC Kingdom)
It’s fair to say I got a little emotional hearing that a new album from legendary producer and trans pioneer SOPHIE was being posthumously released. The first single to be shared from it, ‘Reason Why’ features Kim Petras and BC Kingdom and offers a euphoric slice of queer electro-pop. Of the decision to release her music now, SOPHIE’s family have shared a statement explaining: “It feels only right to share with the world the music she hoped to release, in the belief that we can all connect with her in this, the form she loved most… Sophie gave all of herself to her music. It’s here that she can always be found.” SOPHIE, the self-titled final album, is due for release on 27th September via Transgressive and Future Classic. Pre-order here. (ML)

Chelsea Wolfe – ‘House Of Self Undoing’ (Boy Harsher Remix)
I am obsessed with this Boy Harsher remix of one of my favourite Chelsea Wolfe tracks. They’ve kept the melancholy undertones of the original, but somehow managed to transform it into an hazy, uplifting rush of synths, beats and hushed vocals. (KC)

Roller Derby – ‘Silver Jet’
Following recent single ‘Dreams’, Hamburg duo Roller Derby are back to charm our ears with the immersive sounds of ‘Silver Jet’. As Philine Meyer’s distinctive celestial vocals soar throughout, the song sparkles with anticipation for the new beginning that we’ve been flying towards throughout the track. A stirring meditation on enduring challenges, both on a personal and collective level. (ML)

Midwife – ‘Killdozer’
Taken from her upcoming album, No Depression In Heaven, this beautiful single from Midwife is “an ode to a city lost in the aftermath of gentrification.” ‘Killdozer’ centers around the story of Marvin Heemeyer, a muffler repair shop owner who went on a demolition spree in a modified bulldozer, before taking his own life in a small Colorado town in 2004. It always impresses me how Midwife transforms the darkest of moments into beautiful, shoegazey lullabies like this. I’m looking forward to hearing her new album in full. (KC)

Julia-Sophie – ‘telephone’
Balancing all-encompassing romantic infatuation alongside her melancholic and lonely impulses, this vibrant track from Julia-Sophie is a total headrush. ‘telephone’ is taken from her upcoming debut solo album, forgive too slow, which is set for release on 26th July via Brooklyn label Ba Da Bing Records. Julia-Sophie offers this comment about her new record: “My journey with music has been weird and long. I think people assumed that the music I made was exactly what I intended to make, when it’s always just been me trying to figure it out. Being a solo artist has allowed me to really find myself and show who I am in all my messy states.” We fully support that! (KC)

mayday mae! – ‘girls into music’
California-based, queer alt-pop artist mayday mae! penned this fun track as an ode to all the queer films, music and art that came before her. ‘girls into music’ is taken from her excellently titled EP, my post-desert hearts renaissance. (KC)

Taylor Swift – ‘I Can Do It With a Broken Heart’
I will NEVER stop talking about Taylor Swift and The Eras Tour. I was lucky enough to see the show in both Lisbon and London and I am still in AWE of what she does. The atmosphere was electric and her fans were so fun, kind and willing to indulge in a level of shared euphoria that I have never seen or felt at a stadium gig before. What a privilege to be a part of that. Here’s to Rachel, Vicky and Mel who were screaming and crying the whole way through with me. (KC)

Beauty Sleep – ‘Big Sky’
The new single from Derry duo Beauty Sleep, ‘Big Sky’ is inspired by a fun weekend at Primavera festival. Oozing an infectious glistening energy and fizzing jangly hooks, it’s a perfectly danceable euphoric summer anthem. (ML)

Saint Sappho – ‘Glory Box’
With Portishead’s Dummy being my most favourite album of all time – having grown up listening to my dad’s cassette recording of the album on so many car journeys, and then later as a teen immersing myself in its dark cathartic splendour – I was excited to hear Saint Sappho’s rendition of seminal track ‘Glory Box’. Whilst maintaining the majestic allure of the original, it oozes an added musically rich sense of grandeur and raw energy. Of their decision to cover the track, the duo explain: “We both love the original song and thought it’d be an interesting one to cover and experiment with putting our own sound into it. We added some orchestral elements, which we thought would work well in this song and love to make a track really dramatic.” (ML)

Naomi in Blue – ‘Skin’
Taken from her recent EP, It Takes Time, this is a candid and poignant rumination from singer-songwriter Naomi in Blue. A considered exploration of emotion and identity, ‘Skin’ and the other tracks that form her new record are equally as raw and revealing. Definitely make the time to listen to it in full. (KC)

Hinako Omori – ‘stillness, softness’ (kloxii li remix)
Hinako Omori has shared this remix of her track ‘stillness, softness’ which is taken from the “extended dream transition” version of her album of the same name. It’s remixed by Kloxii Li, who is a friend and collaborator of Hinako. I love the way they’ve made this gentle track sound so shadowy. (KC)

Yaz Leon ft. BUKKY – ‘4th Wall’
A great collaboration here between experimental R&B artist Yaz Leon and genre-defying artist BUKKY – who was a guest on our Soho Radio show a few months back. ‘4th Wall’ is taken from Yaz’s upcoming EP, Bleach. Yaz describes this song as “kind of a ‘hater’ and a “help I’m spiralling” song” about the lack of solidarity she’s experienced in different social spaces. She also says “it’s a bit of a bummer, but at least we made the beat fun! – which I respect! (KC)

Fraulein – ‘In The Living Room’
This is my favourite track from Fraulein’s recent mini-album, Sink Or Swim. The perfect mix of loud and quiet; the skilled grunge duo consistently deliver swirling alternative anthems that command the senses. Definitely check their record out. It’s a GIHE team fave at the moment. (KC)

LIINES – ‘Holding On’
The new single from Manchester post-punks LIINES, ‘Holding On’ is the band’s first new music since 2021. Showcasing the band’s ability to create brooding sonic explosions, lyrically it draws on themes of hope and desperation, and I just love its frenetic sense of urgency and the raw passion of Zoe McVeigh’s soaring vocals. (ML)

Problem Patterns – ‘I Think You Should Leave’
An ode to their hometown of Belfast, this is the brand new single from GIHE faves and punk icons Problem Patterns. Inspired by a disparaging comment a journalist made to the band when speaking about Northern Ireland, the track is a riotous “love letter” to the place that raised them as individuals and as a band. “Everybody leaves and nothing changes / I’ll stay here and create the spaces” they chant in the chorus, which becomes more powerful each time it’s repeated. The GIHE team love everything that Problem Patterns stand for, and we were lucky enough to visit them in their hometown back in 2022 for the Women’s Work Showcase at the Oh Yeah Music Centre. The Belfast hospitality was beautiful – we think you should all go! (KC)

Belmondo – ‘Getting Closer’
Lifted from their excellently titled EP, The Blessed & The Evil, released via Silent Cult, I love this heavy, swirling anthem from Brighton-based alt-rock band Belmondo. The band will be playing live at venues in Glasgow, Manchester and Birmingham this September, and they’ll be performing at the Hope & Anchor in Islington, London on 5th September too. (KC)

Brat Coven – ‘Favourite Crime’
The latest single from Glasgow ‘doom-punk’ band Brat Coven , ‘Favourite Crime’ reflects on predatory age-gap relationships with a fierce, raging passion. Propelled by a seething energy, a captivating, haunting soundscape is created. Of the track, the band explain: “We wrote this song for ourselves, for our younger selves, for anyone whose story is told by this song. Sexual abuse and grooming is rampant, particularly in the music industry and we think it’s incredibly important to use our voices to speak out and condemn predatory men.” (ML)

SNM – ‘Borne Of My Rib’
Loving this angst-ridden single from London-based Grunge-rock newcomers SNM. They’ve only released a handful of tracks so far, but the band are gearing up for a busy year of live shows and writing together, so keep your eyes peeled for more from them soon. (KC)

Strange New Places – ‘Foreign Cities’
I really enjoyed reading the bio of Belfast-based band Strange New Places when their email dropped into my inbox earlier this month. They describe themselves as “right-on radicals with low self-esteem; a band where queerness and neurodivergence intersect, and intersect hard. Sometimes they intersect in fun and interesting ways and other times they intersect in strange and annoying ways. Each member looks like they’re in a different band, and sometimes they sound like it too. Regardless, they’ve stuck together, and they have some music to play for you.” This track ‘Foreign Cities’ is a perfect example of all these wonderful traits; playful, quirky and bittersweet. (KC)

Hot Wife – ‘Buffy Summers’
The debut single from South London band Hot Wife has dropped into my life at the perfect time! I am currently on my first ever watch of Buffy The Vampire Slayer – I’m on season 4 – and I am loving it. I’m thrilled that I can finally join in on all the fandom. Hot Wife describe this track as “a crunchy-grunge ballad, and a reminder that when relationships are disappointing, you can always go out there and seek revenge by kissing kick-ass people.” A sentiment we should all be living by. (KC)

Alien Chicks – ‘Qwerty’
Another unpredictable and infectious post-punk anthem from Brixton trio Alien Chicks, featured on their upcoming debut EP, Indulging The Mobs, set for release on 18th July via Hideous Mink Records. It’s cliché to say, but they truly are a band who are best appreciated live. They’ll be headlining Moth Club in East London on 5th July. Grab a ticket and go an experience their frenzied live set in the flesh. (KC)

Fightmilk – ‘Summer Bodies’
A perfectly raging summer anthem, ‘Summer Bodies’ – the new single from pop-punk faves Fightmilk – has been a live favourite for some time, so I’m very happy that it’s now properly out in the world. Raging against patriarchal society’s ridiculous and ever-changing expectations of women’s bodies and the futile quest to ‘be sexy’, it offers a fierce ode to self-love in the face of the onslaught of damaging beauty standards that we are constantly bombarded with. Angsty and uplifting in equal measure, it’s an instantly catchy singalong anthem, combining the band’s trademark tongue-in-cheek wit with a swirling energy and gritty raw emotion. So, this summer, wear whatever you makes you feel comfortable, pay no mind to the incessant Instagram ads about fad diets or corrective procedures, and know that you look great – whatever size, age or gender you may be. (ML)

Okay, Bye – ‘The Fun Is Over’
Pastel-punk duo Okay, Bye released their debut album earlier this month, and this is the excellently titled eponymous track. If you like the sound of ‘The Fun Is Over’, definitely give the whole record a spin. (KC)

Annie Taylor – ‘In Your Head’
Recorded during a break on their tour in Leipzig, Annie Taylor’s latest single ‘In Your Head’ is a swirling indie-grunge anthem. The band are set to tour Europe in December this year, and they’ll be stopping in London at The Shacklewell Arms in Dalston on 3rd December too. (KC)

PostLast – ‘Scavenge’
This is the brand new single from Irish indie-pop duo PostLast, out now via VETA Records. ‘Scavenge’ is all about that “unspoken connection” between two people that can “quieten all of the noise, anxiety and pressure you might be feeling internally” which is a sentiment I love. (KC)

Lunar Vacation – ‘Set The Stage’
Having just announced the upcoming release of a new album this autumn, following one of my most-listened to of the last few years – 2021’s Inside Every Fig is A Dead Wasp – Lunar Vacation have now shared this dreamy new single. The first and last song that vocalist and guitarist Gep Repasky has ever sent to the person that they’d written it about, ‘Set The Stage’ ripples with a swirling anthemic splendour as a glistening emotion oozes from the immersive shimmering soundscape. Everything Matter, Everything’s Fire, the new album from Lunar Vacation, is set for release on 13th September via Keeled Scales. (ML)

Sequela – ‘Zavander’
I’m glad that I found this track from Portland-based band Sequela in my inbox. Non-binary front person Sequela explains that ‘Zavander’ “is in part about my experience of navigating the isolation and dynamism of adolescence in the body of a teenage girl who was not made for her world.” Along with their bandmates, Sequela manages to transform these feelings of unease into a lush indie-shoegaze anthem. (KC)

Static Lives – ‘Social Anxiety’
Having been blown away by Sheffield’s self-proclaimed ‘dance-rock-alt-band’ Static Lives at Cro Cro Land earlier this year, I’ve been enjoying dancing and rocking to latest single ‘Social Anxiety’. Propelled by a fierce energy, it races with catchy hooks and front woman Lori’s impassioned vocal drive. (ML)

Th’Sheridans – ‘Dancing In The Dark’
A favourite band covering an absolute favourite by my absolute favourite; so many faves all in one. I just cannot stop listening to Th’ Sheridan’s rendition of Bruce Springsteen’s infamous anthem ‘Dancing In The Dark’ right now; I love the gritty emotion oozing from Adam’s vocals alongside the racing, fizzing hooks . Of the track, the band say of their choice to cover this song – “It carries a cavernous depth of sentiment: everyday monotony, feelings you just can’t seem to put anywhere, oppressive levels of aesthetic self-assessment, and most freeingly, the belief that other ways of being are possible.” Th’ Sheridans recorded this cover especially for a wonderful new podcast, Because The Boss Belongs To Us, which sees Holly Casio and Jesse Lawson put forward the case that Bruce Springsteen is in fact a queer icon. I wholeheartedly agree. Oh, and I just saw him in Madrid and he was as incredible as ever – played for 3 hours non-stop, and I was crying happy, overwhelmed tears pretty much the whole time. (ML)

Spring Major – ‘A Varsity Play For The Dock’
I’ve loved Spring Major a lot since first coming across them last year, but now – since seeing them play for us at our dreamy gig at The Finsbury last Friday, supporting Felicette with Schande and Caleb Nichols – I would consider myself a fully-fledged mega fan. Latest single ‘A Varsity Play For The Dock’ perfectly captures how the band’s swirling energy and jangly melodies come together to create impassioned and instantly uplifting emo-tinged anthems. (ML)

The Calamatix – ‘Love, Lies and Alibis’
California’s The Calamatix have just announced the release of their upcoming debut album, as they’ve shared a catchy new single. Combining elements of old school ska with Jamaican rock-steady, as well as a fresh contemporary edge, ‘Love, Lies and Alibis’ bounces with a vibrant energy as buoyant beats race alongside the smooth, soulful vocals. It took me back to being sixteen, skanking round the living room before heading out to see local ska-punk bands at Bedford’s Esquires; a perfectly nostalgic, joy-inducing accompaniment to heady summer evenings. The self-titled debut album from The Calamatix is set for release on 20th September via Hellcat Records. (ML)

Dolly Parton – ‘Dumb Blonde’
A bit of Dolly here to remind you that we’ll be hosting a night of queer country fun on 19th July at Sebright Arms. Headlining will be the world’s premiere Dolly Parton tribute band The Dumb Blondes, who are quite the super group – featuring members of Fightmilk, Panic Pocket, Yakkie and Charley Stone. Support comes from cowboi crushes Trouble Wanted and legendary Margate duo pink suits, in their country guise. It’s going to be epic – so, don your daisy dukes and come on down for a rootin’, tootin’ good time! Well over half the tickets have already been snapped up, so you better nab yours quick – on Dice now. (ML)

 

LISTEN: GIHE on Soho Radio (24.06.24)

Resident “Gloomy Grrrl” Kate took the lead for the June edition of Get In Her Ears’ Soho Radio show, spinning loads of new music from some of the team’s favourite female, non-binary and LGBTQIA+ artists. She played a string of queer anthems to acknowledge Pride month, gave a shout out to the incredible success of the Bands Boycott Barclays initiative, and enthusiastically spoke about GIHE being mentioned in the same news article as Taylor Swift.

Mari offered some of her “musical musings” too, and Producer Noémi recommended listeners check out Mannequin Pussy and Taqbir. Artists featured on the eclectic playlist included ARXX, The Menstrual Cramps, Fraulein, Julia-Sophie, Hot Wife, Fightmilk, Ethel Cain, Midwife, LIINES, MilkMaiden, SASAMI, Seraphina Simone, House Of Women, Jaz Leon x BUKKY, Alien Chicks, Gazelle Twin, pink suits and more!

Listen to the show below:

 

We’ll be back on Soho Radio on Monday 22nd July from 12-2pm
 Make sure you tune in via www.sohoradiolondon.com

Tracklist
Jackie Shane – Sticks and Stones
ARXX – Good Boy
Ethel Cain – American Teenager
Taylor Swift ft. Post Malone – Fortnight
The Menstrual Cramps – Antagonistic
Fraulein – In The Living Room
LIINES – Holding On
SASAMI – Honeycrash
Midwife – Killdozer
Chelsea Wolfe – House Of Self Undoing (Boy Harsher Remix)
Julia-Sophie – numb
Seraphina Simone – Wild
mayday mae! – girls into music
Beauty Sleep – BIG + BAD
Alien Chicks – Qwerty
House Of Women – Overgrown
Belmondo – Getting Closer
Hinako Omori – stillness, softness (kloxii li remix)
Gazelle Twin – Walk Through Walls
Yaz Leon ft. BUKKY – 4th Wall
PostLast – Scavenge
piglet ft. Jemima Coulter – Panic
Hot Wife – Buffy Summers
Fightmilk – Darkness On The Edge Of Town
Taqbir – Sma3
Mannequin Pussy – Sometimes
Okay, Bye – The Fun Is Over
MilkMaiden – Murder Of Crows
pink suits – Refuse The Rules
Dolly Parton – Dumb Blonde