Five Favourites: Laura Reznek

Having received much acclaim for her debut and cross-disciplinary stage show Agrimony, and then this year’s innovative album The Sewing Room, Canadian songwriter and composer Laura Reznek interweaves poignant reflections on the struggles of living in a patriarchal society and personal loss, with her glistening folk-tinged melodies and delicate rich vocals.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, ahead of her upcoming UK tour which kicks off next month, we caught up with Laura to find out about the five albums that inspire her the most. Read about their five favourites below, and then make sure you check out her gorgeous album The Sewing Room…

Judee Sill – Judee Sill
Out of all of these, Judee Sill is the newest discovery for me and I don’t really know how it took me so long to find her. I think this record is so incredible – honest, sad, hopeful, beautiful – and when I first heard the opening song ‘Crayon Angels’ it felt like this warm wave washing over me. Every time I put it on – especially when that oboe hits! –  I always breathe a sigh of relief.

Simon & Garfunkel – Bookends
I will love Simon & Garfunkel until the end. This album especially was in my ears a lot while I was writing and recording The Sewing Room. I feel like it’s a really varied record and takes you on a journey. I always love an element of spoken text or conversation woven into music, so love ‘Voices of Old People’ which comes in before ‘Old Friends’ – which has a string arrangement I’m obsessed with. And I think that ‘America’ is the most perfect song ever written.

Madison Cunningham – Revealer
This album blew my mind when it came out. I think Madison Cunningham is one of the best songwriters out there and that this record is pretty much perfect. I heard ‘Life According to Rachael’ in the midst of immense grief and I found it incredibly comforting. I love her use of language and textures in her arrangements.

Anais Mitchell – Anais Mitchell
Another 2022 release, Anais Mitchell’s self-titled record has been a staple in my life. She’s been a longtime inspiration – I saw her play solo in 2016, the day after the US election and the week Leonard Cohen died – and it was the only show I’ve ever openly wept at. ‘Bright Star’ is probably in my ears about ten times a day.

Fiona Apple – Fetch The Bolt Cutters
I will never stop being in awe of Fiona Apple. This album was the soundtrack to my lockdown, and the main reason why I wanted to try my hand at producing The Sewing Room on my own, after I heard she’d made the majority of it in Garage Band. It’s raw, it’s human, and makes me feel empowered, uncomfortable, and elated, which is everything I want from a record.


Huge thanks to Laura for sharing her Five Favourites! Make sure you have a listen to the exquisite The Sewing Room, and then catch her when she’s over in the UK in September and October! Tickets here.


mariangelicalaneLeave a comment

LIVE (Photos): Deer Shed Festival 2025 (Day 3, 27.07.2025)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to ensure I didn’t miss it every year since, I was very glad I got to have another dreamy time there last weekend. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing.

Amongst those performing, a fantastic amount of female, non binary, queer and just all-round fearlessly powerful performers are represented, and I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before. See below for a few words and photos about the fantastic time on Sunday, our final day at the festival!

Sunday sees us starting the day perhaps earlier than you would at your average festival, but then Deer Shed is no average festival. Coffee in hand, we head to The Lodge to ease in the day with the glistening sounds of Leeds-based artist Neve Cariad. Telling us that is her first festival appearance, Cariad and her band treat us to their beautifully lilting folk-strewn melodies, reflecting on pastoral themes with a shimmering, heartfelt grace. In fact, I become so immersed in the lush layers of sound and rousing vocals, I almost don’t notice being attacked by one of the many wasps who’ve taken up camp with us for the weekend.

After a delicious and nutritious vegan brownie for breakfast, we return to The Lodge to catch long-time personal favourite, Brooklyn-based artist Sheherazaad. Offering spellbinding reflections steeped in lyrical storytelling from India, Iran and Pakistan, she dedicates the set to people who have experienced placelessness, and shares her joy at being somewhere like Deer Shed – “it’s in places like this, of music, that people can find place…” Delivering a range of new songs with her accomplished instrument-swapping band, she showcases her ability to blend a stirring folk-inspired musicality with experimental techniques, exuding her playful spirit as each rippling soundscape flows from the stage with a majestic splendour. Whilst she has the audience captivated by her rich, swirling cacophonies, Sheherazaad sums up the weekend perfectly a the set draws to a close – “Sometimes you’re in a place that’s so beautiful, you’re left speechless and there’s nothing left to say.”

Managing to catch some of the quirky, danceable energy of genre-defying collective Mandrake Handshake on the Main Stage, we head to the In The Dock stage for the stark and powerful politically-charged anthems of immense duo Benefits. And, with the set featuring a very special guest appearance from Kingsley Hall’s daughter (“don’t worry this is my daughter, not just some random child!“), as she takes centre stage – showing off her sparkling fairy wings for us all to admire – it’s pretty lovely to see a softer side to the band. A kind of epitome of what Deer Shed is all about; families and people of all ages coming together to enjoy music that loses none of its visceral, raging energy in the safe, inclusive space that has been created.

As the sun starts to reappear, Welsh faves The Bug Club take to the Main Stage. Treating us to a set filled with songs new and old – and even perfecting tracks from their latest album, Very Human Features (which they caveat by admitting they’re tricky to play live) – their fiercely frenzied energy cascades from the stage, with each fuzzy blast of garage-rock bringing with it an infectious sense of joy. Having last seen them at the In The Dock stage a few years back, it’s great to see them win over an even bigger crowd with their eccentric allure, self-deferential wit and gloriously uplifting offerings.

With Bodega kicking off their set on the main stage with a tribute to recently deceased rocker Ozzy Osbourne, the New York band continue to wow us with their sparkling post-punk offerings, each delivered with an immersive, vivacious charisma. Then, we head back to the In The Dock stage to catch Liverpool-based King Hannah. As a sweeping, bewitching majesty flows with a dark energy throughout the set, I remain as enchanted as the first time I came across the band back in 2019; Hannah Merrick’s resonant vocals continuing to cast me under their spell with their stirring, ethereal grace and raw emotion.

After enjoying a whole load of nostalgic joy as Idlewild deliver a completely perfect set of favourite songs from over the years, with all the youthful energy and distinctive rich clarity of Roddy Woomble’s vocals that I remember from seeing them nearly two decades ago, it’s time for headliners – and final band of the festival – The Big Moon. Trickling onto the stage with an abundance of joyous energy, the band explain what a special performance this is for them – not only is it their first festival headline slot, but Jules is pregnant (“we’ve chosen a bad time to start doing late night shows!”), it’s drummer Fern’s birthday AND The Lionesses have just won the euros. This being the second time the band have played Deer Shed, they discuss their love of the festival and how they’re feeling “refreshed and scented” after indulging in some wild swimming, despite being tired after having to arrive for soundcheck at 8am. Exuding all the heartfelt sparkling emotion and sunny energy we’ve come to expect, The Big Moon’s ability to offer a comforting warmth and enlivening sense of optimism through their beautifully lilting musicality and endearing camraderie remains unmatched. Uniting the all-ages crowd with the blissful allure of each offering, they provide a perfectly uplifting close to the festival, and – as they play their penultimate song, a surprising, fun-filled rendition of Fatboy Slim’s ‘Praise You’ – younger members of the crowd even start a chant of “two more songs!” (“the next generation are so demanding!“), before the band play us out with the anthemic, evocative energy of ‘Your Light’.

Huge thanks, as always, to all involved with organising such a wonderful weekend – we can’t wait to be back for all the life-affirming vibes of Deer Shed Festival next year!

Words: Mari Lane / @mari_getinherears
Photos: Paul Dawes / @paullikesrobots

mariangelicalaneLeave a comment

LIVE (Photos): Deer Shed Festival 2025 (Day 2, 26.07.2025)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to ensure I didn’t miss it every year since, I was very glad I got to have another dreamy time there last weekend. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing.

Amongst those performing, a fantastic amount of female, non binary and queer performers are represented, and. I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before. See below for a few words and photos about the fantastic time we had on Saturday at the festival!

Still feeling all the feels from a glorious Friday night at the festival, I was excited to kick off our second day with Glasgow punk duo Cowboy Hunters. Having been pretty much obsessed with recent single ‘Mating Calls‘, their raw energy and immersive riotous power came as no surprise, but the fiercely engaging charisma and stark dry wit they exuded throughout their immense, instrument-swapping set exceeded all expectations. Strictly not adhering to the festival’s suggested reduced swearing policy, they go from raging about transphobes and needing money for drugs to ending the set by getting the whole crowd to join in doing The Macarena with them. The most surreal and perfect way to kick off a Saturday morning!

And then for a complete change of mood, we head to The Lodge Stage to be soothed by the sweet folk-bathed sounds of Sarah Smout. Despite having been unwell yesterday, through the power of Lucozade and support from an encouraging partner, she thankfully made it to Deer Shed this morning to deliver a glistening, heartfelt set; treating us to ruminations on Iceland, motherhood and nature, a captivating blissful grace flows from the stage throughout.

Thankfully, we make it to the Main Stage to catch the end of fellow South Londoners Honeyglaze. With shades of the reflective lyrical observations of English Teacher or Dry Cleaning, their swirling scuzzy hooks and the rich sugar-sweet vocals of front person Anouska are greeted by glimmers of sunshine beaming through the clouds.

Having been pretty much listening to Scottish queer artist Jacob Alon‘s exquisite album In Limerance on repeat in recent months, they were one of the performances I was most looking forward to seeing this weekend (especially as I’d missed their sets both when they supported Kae Tempest at KOKO recently, and at The Wilderwild stage here at Deer Shed last year). And they did not disappoint. Far from it. Delivering each of their strikingly stirring offerings with a shimmering heartfelt splendour and sensitivity, and playing against a much-welcomed backdrop of the Trans Pride and Palestine flags, Cob’s poignant creations are interspersed with moments of endearing charm and humour. Whilst dedicating ‘Confession’ to “all the queers… You are all so loved“, they go on to explain ‘Liquid Gold 25’ as being written after a “couple of dodgy hookups on Grindr… Perfect for these family vibes!“, before taking us to “a seductive world of dreams” with ‘Of Amber’. As I sway and sing along to each beautifully moving song in this sunny field surrounded by families of all ages, I can feel the raw emotion of each and every word. I’m left feeling spellbound and inspired; filled with hope that the young people in the crowd are able to absorb the sense of queer joy and subtle resistance that is radiating from the stage.

After catching the engaging energy and quirky charisma of another lovely Scot, and definite new fave, Hamish Hawk, I prepare to dance and sing along to London-Nigerian collective Ibibio Sound Machine. Delivering their colourful Afro-punk with an infectious joyous energy, they enliven and invigorate the crowd. Glistening with a regal, playful charm and emanating an effervescent sense of pride, vocalist Eno Williams swirls around the stage, immersing us all in the band’s traditional tribal-inspired cacophonies with a unique, punk-infused spirit. A performance filled with pure jubilation.

Another performance I’d been extremely excited about catching over the weekend, especially after speaking her for our recent interview feature, was innovative South African artist Moonchild Sanelly. And, despite her warning me about her ability to “KILL… We’re going to run out of body bags…” when we spoke, I still don’t think I was prepared for quite how intensely life-changing her set was going to be. Whatever I write here won’t do it justice, but the sheer euphoric energy and relentlessly cheeky charm blasting out from the stage throughout is unmatched. Particular highlights range from the validating and inspiring introduction to ‘Sweet & Savage’ – Moon proudly declaring her bisexuality and consistent inability to choose as she shoots the adoring all-ages crowds with bubbles – and the swirling chaotic energy of ‘Scrambled Eggs’ (“the reason I have all this energy is because I eat eggs“), to the screams of excitement as she vogues across the stage with Ashwin to ‘Big Booty‘ and the looks of pure ecstasy on her “boobeams“‘ faces as she joins them in the crowd for an epic dance-off. It’s hard to pick particular stand-out moments, as the set as a whole is an experience like no other; Moonchild Sanelly is a performer like no other. Put lightly, it’s forty five minutes of gloriously uplifting chaos and empowering delight.

Having seen Kae Tempest many times over the years, and most recently embracing so much Trans joy at their KOKO show in November last year, it was wonderful to now see him welcomed so whole heartedly by the all ages crowd for their headline slot here at Deer Shed. There’s not many words I haven’t already said about just how vital and moving it is to see him live, but tonight’s set offered a glimpse into a lot of new material with a fresh immersive poignancy and fierce sense of urgency. Accompanied by just one other musician on keys, despite the expansive setting, there’s a comforting intimacy to the set as each of Kae’s deeply stirring poetic ballads are delivered with a sweeping raw emotion and majestic sense of pride. As the propulsive beats and overwhelmingly resonant words flow from the stage throughout, Tempest’s offerings seem more powerful than ever before; necessary for us to unite in queer energy and maintain a subtle sense of hope that – through coming together in communities as life-affirming as those at Deer Shed – we can find the happiness and strength to overcome those intent on holding us back. And, as a kind of epitome of the joy and empowering energy that has shone throughout, Kae leaves us with a fiercely heartfelt rendition of George Michael’s ‘Freedom’. A perfect way to celebrate today’s Trans pride.

Huge thanks again to all involved with organising such a wonderful weekend – stay tuned for photos of, and words about, of Day 3 at Deer Shed this year!

Words: Mari Lane / @mari_getinherears
Photos: Paul Dawes / @paullikesrobots

mariangelicalaneLeave a comment

LIVE (Photos): Deer Shed Festival, 2025 (Day 1, 25.07.2025)

Having fallen in love with Deer Shed when I attended for the first time back in 2022, and then going on to ensure I didn’t miss it every year since, I was very glad I got to have another dreamy time there last weekend. Highlighting a real family focus, whilst hosting a range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment, this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – there’s still plenty of adult fun to be had, just in perhaps a slightly less intense, and more safe, environment than most other festivals. Which is no bad thing.

Amongst those performing, a fantastic amount of female, non binary and queer performers are represented, and. I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before.

After an eight hour journey from London, we finally arrive at the haven of Deer Shed late in the afternoon. Although I was sad to be missing The Pill‘s set on the Main Stage, I could hear the playful charisma of the duo’s ‘Woman Driver’ flowing across the field to where we were unpacking the car and being welcomed by a super helpful and friendly person called Eden at the Tangerine Fields camp site. Once settled, with a pint of Brasscastle’s finest in hand, we headed to the main stage to catch Nottingham’s Divorce. As they mention, they last played the festival back in 2022, first thing on a Sunday morning at the In The Dock stage, so it’s a nice step up to be out on the main stage on a Friday night. Treating us to a range of songs, including old favourites as well as newer offerings from their recently released album, Drive To Goldenhammer, their scuzzy offerings seamlessly fuse together a dreamy romanticism and lush folk-inspired harmonies alongside a subtle, gritty energy. A perfectly uplifting way to get the festival started.

Next, in the shelter of the In The Dock stage, it’s time for The None. Having been desperate to catch this experimental supergroup for some time now, I’m excited to finally witness their abrasive punk cacophonies live for the first time. And they don’t disappoint – as front person Kaila White immerses the all-ages crowd with a captivatingly fierce, raw energy, the band deliver their immense, raging anthems with a swirling, tenacious spirit. In contrast to the metal-infused musical intensity, White’s between-song chat offers an endearing charm as she appeals to the younger members of the audience – “I hope you appreciate you have cool guardians that take you to festivals…” – and encourages an “under 5s mosh“. A suggestion which isn’t quite taken up by the crowd, but welcomed with cheers all the same. As always, at Deer Shed, it is pretty heartwarming to see kids who would not otherwise have the opportunity to engage with live music, especially of the heavier genres, be able to rage and sing along too.

After an extremely delicious vegan burger from one of the many ethical and locally sourced food stalls, I head back to the In The Dock stage; swapping my usual position of spectator to ‘artist’… If you can call DJing that. Although lurking in the shadows without being noticed is generally more my vibe, having had such a fantastic time DJing a little Silent Disco set at the festival last year, I was excited to do it again. Despite my nerves (and being on at the same time as the glorious Wunderhorse), playing tunes to a huge tent that ended up being full of people provided a much-needed hit of dopamine. And watching the people of all ages, families and friends alike, enjoying the music – making up dances, and getting excited by certain songs (particularly Chappell Roan and Le Tigre!) – was a pretty euphoric experience. I’m mega grateful to have had the opportunity to do it; huge thanks and love to Deer Shed for letting me unleash my danceable queer tunes onto the crowd once again!

Stay tuned for photos of, and words about, of Days 2 & 3 at Deer Shed this year!

Words: Mari Lane / @mari_getinherears
Photos: Paul Dawes / @paullikesrobots

mariangelicalaneLeave a comment