LIVE: Little Simz – Meltdown Festival, Royal Festival Hall (22.06.2025)

A balmy Sunday evening in June, and the closing night of the annual Meltdown festival at London’s Southbank Centre. This year’s eleven day event has been curated by innovative artist, and personal favourite, Little Simz, and has included performances from Tiwa Savage, Lola Young, Mahalia, The Streets and more; showcasing an eclectic range of talent and musical styles. And now, to mark the festival’s finale, Little Simz herself takes to the stage, not only accompanied by her trusted band, but by the 42 strong Chineke Orchestra – a collective predominantly consisting of black and ethnically diverse musicians.

Taking place inside the renowned Royal Festival Hall, it seems like the perfect setting for such a memorable event; and, as the orchestra starts to deliver the opening bars of ‘Introvert’, oozing a formidable sense of cinematic grandeur, excitement ripples from wall-to-wall of the jam-packed space, before Little Simz appears, glowing with a sparkling energy, as though she’s been waiting for this moment her whole life. And perhaps she has; the creator of six albums, winner of multiple awards, and often hailed as the country’s best rapper, in addition to being a respected actor, it feels only right that her journey has lead her here – performing to a sold out crowd of family, friends and fans of all genders, ages and backgrounds. A beautiful culmination of not only the past week’s events, but of her career’s achievements so far. 

Continuing to deliver tracks spanning this impressive career, from the gritty energy of this year’s ‘Thief’ and a soulful rendition of ‘Peace’ with collaborator and childhood friend Miraa May (“… we used to sing together in the park while she played guitar”), to songs from her previous albums like the passionate reflection of 2022’s ‘Heart On Fire’ (in which she flits throughout the aisles, greeting the crowd with an endearing warmth), and the catchy singalong refrain and angst-driven power of ‘I Love You, I Hate You’, from 2021’s Sometimes I Might Be Introvert.

Whether she’s delivering new or old tracks, however, Little Simz’s immense dedication to giving us the most enjoyable and entertaining performance possible remains consistent; fluctuating between a fierce raw emotion and sweeping euphoric energy, there isn’t a moment that she doesn’t seem fully immersed in sharing her innovative creations with us. 

Little Simz’s commitment to sharing and collaborating is evident in the many special guests that join her on stage throughout the night. In addition to Miraa May, frequent musical partner Obongjayar joins her in bounding across the stage with a buoyant energy for ‘Lion and Point’, whilst prominent grime artist Wretch 32 weaves throughout the crowd whilst interacting with Simz for the poignant to-and-fro dialogue of ‘Blood’ as Cashh intersperses with his reggaeton-inspired rhymes. She also seems intent on shining a light on her band, continually encouraging us to notice just how cool and talented they are, like in playful new album track ‘Young’, changing some lyrics to “Martha’s gonna play her bass here” as she highlights her bandmate’s fierce hooks.

As well as the band driving Little Simz’s trademark gritty energy, the addition of the Chineke Orchestra adds a perfect sweeping majestic splendour to the already powerful tracks. Providing a cinematic backdrop to the innovative artist’s stirring narrative, the grandeur of soaring strings and whirring woodwind rippling throughout the set at the hands of charismatic conductor Chris Cameron helps to create a wonderfully immersive, captivating atmosphere, adding to the epic memorable proportions of this very special performance. A particular highlight of the set being when Simz takes the reins from Cameron for the immense introduction of ‘Venom’, conducting the orchestra before turning to the crowd as she raps with stoic conviction: “Never givin’ credit where it’s due ’cause you don’t like pussy in power. Venom.”

Whilst many of Little Simz’ tracks, like ‘Venom’, stem from a sense of anger or injustice, which sizzles throughout the set, she’s also not afraid to share a more vulnerable, sensitive side – as she introduces the title track from her latest album, for example, she shares with the crowd that the album came to be after a period in which she’d struggled with her self-esteem and being able to create: “… it was a very, very challenging time: losing my self-confidence and feeling like I didn’t know how to find it again. I didn’t know how to make music; I didn’t know how to start a verse. I just felt very depleted, so I wrote a song about it.” Cue the soulful, heartfelt emotion and beautifully raw honesty of ‘Lotus’. 

Throughout the performance as a whole, an endearing sense of pride and gratitude emanates from Simz; you can really feel the emotion oozing from the stage. Whether that’s a fierce reflection on personal struggles, an impassioned push for change on a wider level, or a more nostalgic sentimentality, there’s no doubt that what she’s sharing is real; it’s honest, it’s empowering, and it’s inspiring. And I think this really reflects the meaning of the new album, of the Lotus, as Simz explained in a recent interview with Louis Theoroux: “… we can thrive in muddy waters, no matter what we’ve been through, we can use it to channel something beautiful.”  

Finally, after dedicating ‘Woman’ to “the girls dem“, Simz closes the set with the rousing energy of ‘Gorilla’ – with her perfectly intuitive, tongue-in-cheek lyrics accompanied by the full orchestra, this seems the perfect way to end the night; juxtaposing the searing raw power of Little Simz’s writing with the all-encompassing resplendent grandiosity of the instruments, contrasting elements all coming together as one in harmony.

Words: Mari Lane / @mari_getinherears
Photos: Pete Woodhead

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FIVE FAVOURITES: Cwfen

Forged by tenacious friendship and a shared passion for creating dense-yet-dynamic sounds, Glasgow-based heavy band Cwfen (pronounced ‘Coven’) have recently shared their debut full length album, Sorrows.

Released via New Heavy Sounds, it’s a record that “builds, burns, collapses and resurrects” – a potent amalgamation of their simultaneously doom-laden, diaphanous noise that the four-piece are preparing to perform live across the UK on their upcoming tour supporting L.A. “doomgaze” trio Faetooth.

We think one of the best ways to get to know a band is by asking what music inspired them to write in the first place. We caught up with Cwfen’s lead vocalist and rhythm guitarist Agnes Alder to ask about her “Five Favourites” – and she picked five tracks by an eclectic range of artists who have inspired her songwriting techniques.

Check out her choices below and scroll down to watch the official video for Cwfen’s single ‘Wolfsbane’ too…

1. PJ Harvey – ‘Rid of Me’
Of course, it starts with Polly Jean. That intro, how it hangs in the air just a beat too long, daring you. Then her voice, understated but razor-sharp, with those strange, confrontational lyrics. They feel like a promise scratched in broken glass. The breathing, the raw vulnerability, the sudden jarring falsetto before the whole thing detonates into that chorus. It’s a glorious, twisted mess that should collapse under its own weight, but instead it coalesces into something furious and powerful. The sheer audacity of a woman writing something this defiantly fucked up was so interesting to me. I didn’t think women got to write songs like this. She was standing there with her guitar, like some sort of wild goddess, telling you how she was about to become your beautiful, unavoidable problem. I wanted to be even a tenth as cool as her. Still do.

2. Melvins – ‘At the Stake’
This song changed my brain and planted the seed for Cwfen. I remember the exact moment, driving home through this long, flat stretch on the way to Fife, the dusk settling in, the sky dark and bruised. Then thunder cracked, lightning whipped across the sky and this song began. It was like someone put on a film. The storm, the landscape, the history of all the women persecuted as witches in this part of the country. It all became this enormous swell of feeling. That moment etched itself into me. Every time I hear those opening chords, I’m back in that storm. It made me realise I wanted to make music that told a story, that grabbed people by the gut and didn’t let go. It’s a simple song, but it hits you right in the middle. That’s the brutal beauty of it.

3. King Woman – ‘Hem’
I haven’t heard a King Woman track that I don’t love, but this is the one I reach for most. It’s the oppressive quiet; that thick, airless atmosphere that settles like a shroud. And the misery of it – and I mean that in the most loving way. Kris Esfandiari’s voice is otherworldly. Ethereal, melancholy, but this powerful anchor in everything that’s swirling around it. The whole thing is a slow, elegant descent into the dark. It’s claustrophobic but it’s not hopeless. There’s a vulnerability there, a kind of quiet reckoning. I imagine it as the sound of confronting your demons in the loneliest hours and finding strange beauty in the pain. It’s the heavy blanket you pull over yourself when nothing else will do. Their songs do this better than anyone’s.

4. Thorr’s Hammer – ‘Norge’
This track made me fall in love with doom. That funeral-dirge quality, giving way to sheer, elemental brutality. I just loved it from the moment I heard it and thought Runhild was just so bloody cool. It made me realise I wanted to learn to scream. I always think listening to it feels like a summoning. Like someone dragging ancient, indifferent spirits out from the stones. It’s monolithic. Unhurried. Unrelenting. It showed me what bleak beauty could sound like and I wanted to bottle some of that for myself.

5. Lingua Ignota – ‘Do You Doubt Me Traitor’
Gosh, how do I try and explain how this one makes me feel. It’s sort of what I imagine listening to an exorcism might be like. That deceptive fragility at the start, the slow build, then the absolute torrent of rage and sound. Raw. Ferocious. Absolutely disintegrating into the unhinged. The way she rolls every word around in her mouth, cradled deliberately or spat out like a curse. I once had it on in the car and had to turn it off because my passenger was having such a visceral reaction to it. That’s how potent it is.

It gave me the same shock as the first time I heard Diamanda Galás doing The Litanies of Satan. It’s more black metal than most black metal and it has directly influenced how I perform. The feral, unchained part of me on stage owes a lot to this, and finding a way to tap into that part of yourself where you lose all control. And those harmonies at the end are divine, like some sort of twisted Greek Chorus. They have this unsettling, sacred-but-desecrated energy. I wanted to try and do something similar, treating the vocal arrangement as choral rather than lead and backing on Sorrows. This track is a masterclass in catharsis. It’s awe-inspiring in the truest sense of the word.

Thanks to Agnes for sharing her favourites with us!

Follow Cwfen on bandcamp, YouTube, Spotify, Instagram & Facebook

Cwfen will be supporting Faetooth on their upcoming UK tour.
Tickets here

13/06 – Glasgow, Hug & Pint
14/06 – Huddersfield, Northern Quarter
17/06 – London, The Black Heart
18/06 – Manchester, Star & Garter
19/06 – Norwich, Arts Centre
20/06 – Ramsgate, Music Hall

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INTERVIEW: Moonchild Sanelly

Having released her incredible third album, Full Moon, at the beginning of this year, innovative South African artist Moonchild Sanelly has been making waves with her unique, empowering genre-defying creations and joyous live shows. Now, with collaborations with the likes of Self Esteem, Gorillaz and Little Simz under her belt, as well as wowing UK audiences at Glastonbury Festival and appearances on Later… With Jools Holland last year, she’s ready to take the world by storm with this latest trailblazing solo offering and her immense, fearless attitude. 

Ahead of a run of tour dates with Self Esteem in the autumn and an appearance at my most favourite festival, Deer Shed, this summer, I was lucky enough to chat to Moon just as she was getting her costumes together before jetting off to Dublin to headline the Grand Social earlier this week. Her styling and aesthetic are a big part of her performances and image as an artist, she tells me, as she explains that she designs and makes her own outfits – “Having the skill to see it, think it, sketch it, make it, advise on it, has been really useful. Having the power to just create my art… All these things contribute to me being a musician and independent artist.” Moon actually studied fashion before going on to become a songwriter, and she continues to put the skills she learned to use when going out on tour – “I know all the different shows I have coming up, and know all the different coloured costumes I want for the different days, and know all the different stage vibes that I want. It’s going to be a fun one!” And these skills can come in very handy when on the road, too, as she discovered on a recent trip to Germany when her sewing machine broke and one of her outfits was left unfinished – “I literally used safety pins to put it together. I come from doing stuff by hand when I didn’t have the money for the fastest machine, so I had to tap back into that and got my safety pins, and nobody knew – it was a great dress, I killed it! It’s something I do on the regular – I was able to save myself, even though my machine had broken.”

This notion of being able to ‘save herself’ seems incredibly important to Moon; whilst having always been supported in her love of music by her family, and particularly her brother who’s a producer, she prides herself on her independence and the power that comes with not having to rely on anyone else: “When you’re doing you, it’s just really effortless; no one can correct you or incorrect you. There’s no right formula. Not even your mum who fed you formula has a formula for you.” Discussing the sense of freedom that can come with being involved in all parts of the creative process, she tells me that she also likes not having a permanent full band, and decided very early on in her career that she did not want to have to rely on other people: “I didn’t want to depend on someone who wasn’t as hungry as me. I didn’t want them to slow me down.” So, she did it on her own, motivated by the liberation to just create whatever she wants, whenever she wants – “I don’t have to wait for anyone… I can literally just do it.”

Of course, this does not mean that Moon doesn’t value the creative input of other people. An example of someone she loves working with is Johan Hugo, the producer of Full Moon, who she had been determined to work with after being impressed by another of his artists at a festival in Europe that she was playing with Gorillaz. Her manager made contact, and – after discovering that Hugo had already wanted to work with Moon, had many mutual connections, and had previously worked with some of her favourite artists (M.I.A, Santigold) – the wheels were set in motion to work together: “We were meant for each other!”, Moon gushes. This feeling of things being ‘meant to be’ seems to be a key theme of the new album: “Full Moon symbolises a real full circle moment for how I have envisioned my art, and how it should be affecting the world. Everything just seems to have come together.” Working with Hugo, Moon was confident that he’d be able to sync the sound in the way that she wanted, to “connect the music with whatever the story is.” She goes on to describe how he was able to create a safe space for her to work, “away from the hustle and bustle”, so that she was really able to tap out and tune into her vulnerable side – “… it just allowed me to open up, without feeling naked or uncomfortable. I just let whatever emotions were evoked by the music come to life. I wasn’t scared of anything that was happening.” However, whilst Full Moon does offer “an insight into (my) sensitive side”, into the “roots” of Moonchild Sanelly, she is keen to emphasise that it still offers that liberating, empowering and danceable spirit that she has become known for: “I will never let it end in tears, because I will always liberate…”

Discussing the recording process, Moon tells me that there was no specific plan – “I just told stories and it was comfortable and I just let it happen… We didn’t have a manual, we just knew we wanted to make fire.” And I think this really shines through when listening to Full Moon; a real sense of freedom emanates throughout, an openness to being both vulnerable and powerful all at once. This stillness and contentment that Moon felt whilst recording the album differs from her experience with her last two records; recording her 2015 debut Rabulapha!, she was travelling around the world working with different people, whilst 2022’s Phases was recorded during lockdown, “…pretty much on my own, just being sent beats, and I hadn’t met half the people that were producing it.” So, she tells me, “…this one was different because I was with the one producer, making music together, and going with the feelings.” 

As well as the fantastic creative partnership she has with Hugo, Moon has enjoyed collaborating with many other artists over the years; with each different relationship unique in the way that they worked together. One of the people she’s worked with most recently is GIHE favourite Self Esteem: “I call my collaboration with Self Esteem like elite energy because it was so effortless. We were just having conversations, and then they were the song.” Going on to talk about their closeness and the cathartic nature of writing certain songs together, Moon elaborates: “We just have things in common – like being independent artists, and dealing with mother fuckers, and so that’s how ‘Big Man’ came to be.” Similarly, ‘Plain Sight’ (from Self Esteem’s recent album, A Complicated Woman) was inspired by negative press that Moon had been receiving that she did not feel able to write about: “So, when I was with Rebecca, I was able to write for her because we were going through the same thing but in different spaces and times, which was super emotional. We talked about all our shit, and then we cried.”

With other artists, however, the process has been very different. Whilst featuring on ‘My Power’ with legends like Beyoncé and Tierra Whack in 2019 merely involved sending over recordings of her music to someone she had not met, with artists like Little Simz “…it was just a really chilled vibe”. Having been something that Moon had always wanted to do, and having met Little Simz through her work with Gorillaz previously, finally getting to properly work together on a track (‘Flood’) was a dream come true. Whoever she’s working with, Moon tells me she has one goal – “… my approach is always to deliver”. She is determined to create her art freely, on her own terms, whether that’s solo or collaborating with others. 

This freedom of being able to create is something Moon feels passionately about, not just for herself but for others, and is something that can often be difficult for people living in South Africa. Reflecting on this and the way that things are gradually starting to change, she tells me that “social media’s definitely contributed to young people being able to share and create music without gatekeepers…” Young people being able to have more access to music without being attached to labels and managers enables a sense of freedom that has not always been possible, and this is something that Moon is grateful for: “You upload music, get lots of hits, are able to gig. That’s how it happens, and it’s beautiful to watch.” Although there’s still a long way to go, seeing more artists from South Africa being able to tour internationally, and with more opportunities being open to them, leaves Moon hopeful for the future. 

Touring internationally is thankfully something Moon has been able to do, and is going to be doing more of later this year, with appearances booked at various festivals including personal favourite Deer Shed in Yorkshire. She describes how she’s feeling about this with one word: “EXCITED!”. I share this excitement as I tentatively admit that I haven’t had the pleasure of seeing her live before and ask what fans can expect: “I KILL. We’re going to run out of body bags. The Freedom Demon shall be evoked.” You’ve been warned, Deer Shedders – prepare for a truly euphoric and empowering experience in which you’ll “own your body and your existence, and know who you are. You’ll just feel everything.” I can’t wait. Despite being excited about performing, however, Moon isn’t as much of a fan of the “whole hay and squatting thing” at UK festivals and tells me that her one requirement is “a flushing toilet, please and thank you.” I empathise with this sentiment and encourage Moon to book her camping in the lovely glamping of Tangerine Fields at the festival, where there are lovely flushing loos and even showers and hairdryers on offer. 

Moon is no stranger to UK festivals, however. Last year, she wowed crowds at Glastonbury with not one, not two, but ten live appearances there – “… it was the most shows we’ve ever done in one weekend”, she beams, “It was gorgeous. It was ridiculous. It was epic.” Not surprisingly, named as one of the highlights of the weekend, it seems like it stands out as a really special and memorable experience for Moon as she cheekily reflects: “We worked our butts off, and we shook them too!”

Being in the position to tour and perform to thousands of people is not something Moon takes for granted as she recognises the challenges that people from marginalised communities face in the industry, and the stigma that can so often be placed on certain groups – “Like, with femme presenting women who are queer, they think sex. And with butch presenting or more masculine people, they can’t be soft.” Discussing this further, Moon reflects on the evolution of Little Naz, how he was “palatable” for the homophobes, “…but then, when he came out, he lost a lot of followers, because you can’t be flamboyant”. This specific stigma surrounding gay men in music is something she has noticed is still not being commercially accepted, but “I feel like we, as women, have got more of an advantage, because we already know the formula of how to get the market.” However, Moon acknowledges that not everyone has her confidence – “I have a lot of famous friends that don’t want to share their sexuality… And this comes from a fear of rejection.” This fear is something that sadly seems to be prevalent amongst queer artists, and is absolutely justified considering the political climate at the moment; the hate speech, the way that the industry “seems open to abusers, to those violating other peoples’ rights, but not to homosexuality…” If we are to move forwards from marginalised communities being more than a “niche” and being more commercially accepted, Moon feels that representation is incredibly important: “With regards to my being queer. With regards to my being a successful black artist. With regards to whatever the world sees me as. I bring that magic. All the different faces that I represent. And I do it proudly and loudly. And fearlessly. Fuck fear.” Whilst others may have seen what Moon has achieved as impossible, she has succeeded and continues to move forwards with passion, determination and joy. “It takes people like us to shine the light”, she clarifies, and shine she does, as a beacon of what can be achieved. If aspiring artists were to be able to see more people like her, to see themselves represented, I feel this could really help to inspire, to motivate, and to reassure; to take away some of that fear that holds us back. I’m sure that when aspiring creatives see Moon being her truly authentic self up on stage, on TV, hear her on the radio, this will empower and ignite that spark in them.

As I thank Moon for her time, and for being such an inspiration and joyous presence in the industry, she assures me that she’s going to continue moving forwards and creating, innovating: “This shit is my life. I don’t want to be confined, I don’t want to be still. Every other job I’ve had, I’ve lost or quit. But now I’m in the right place.”


Huge thanks and love to Moonchild Sanelly for speaking with me. I cannot wait to be taken away in a body bag after the immense experience of seeing her live at Deer Shed festival in July! Tickets still available here.

Mari Lane
@mari_getinherears

Photo Credit: Grace Pickering

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INTERVIEW: Eilis Frawley

Having been big fans of all Berlin-based musician and songwriter Eilis Frawley does for a number of years now, we were excited to welcome the release of her debut album Fall Forward earlier this year. An eclectic collection of striking compositions focused on topics ranging from sexism and feelings of displacement, to personal reflections on self care and nostalgia, it showcases Frawley’s resonant lyricism and immense percussion skills, with a sparkling, empowering energy.

Following the album release, and ahead of Frawley’s UK tour which starts tonight at Brighton’s Rossi Bar and ends on Sunday 1st June here in London at Shacklewell Arms, we caught up with her about her inspirations behind the album, her thoughts on the music industry and her top tour tips. Have a read below, and make sure you catch her live over the next few days!

Hi Eilis! Welcome to Get In Her Ears! Are you able to tell us a bit about what initially inspired you to start creating music? 
Hey Mari! It’s always a pleasure to connect with GIHE! I started playing violin at a very young age, and towards the end of high school I turned to percussion and got very involved with the music department; it was like a family for weirdos and I loved it, it was such a supportive place to practice and learn and develop musicality. I started out in classical music and was always drawn to the row of people standing at the back of the orchestra, often not doing so much, but when they played, it felt like those few people could change an entire mood in seconds – I was totally mesmerised. I didn’t start playing drum kit properly until I moved to South Korea after my university studies – there I met the most impressive absolutely no-bullshit female musicians, we formed a band and quickly I became obsessed with song writing, playing drum kit and creating original music. 

We love your beautifully striking, genre-defying sounds and the empowering energy that shines through in your unique songs and percussion-focused musicality, but who would you consider to be your main musical influences?
Aw, thank you! Someone who has stuck with me for a long time is Tune-Yards – I love the upbeat, very energetic chaos they create whilst diving into some heavy topics. Otherwise, I’m a big fan of Ghostpoet, and lately the Moor Mother/Sumac album, and also the Julien Baker/Torres album have been on regular repeat. 

I’ve been really enjoying listening to your recently released incredible and poignant new album, Fall Forward! The album reflects on themes ranging from misogyny and inequality, to personal feelings of grief and mental health struggles – are you able to tell us a bit more about this and what inspired your songwriting?
I wrote a lot of these lyrics during the pandemic; I’m originally from Australia (currently living in Berlin), and the borders were closed – for the first time in my life it wasn’t possible to go home, and this was very alienating. I spent a lot of time thinking about the past, and how I want the future to look. It’s personal, but I think the feeling of being misplaced is not uncommon to most people. Living in a big metropol it can be lonely, it can be exhausting, it can be misogynistic daily; these songs were a chance to build my own world to get some of these feelings out. 

You’ve described your sound as a “translation of my life into music” – can you explain this and tell us more about your songwriting and recording process? 
I write lyrics one sentence at a time, often in the notes on my phone whilst on the bus or train or having a coffee, then after some time I combine lyrics of similar themes and see where to go from there – it’s a collage of my experiences and thoughts. Musically, I often have an idea – maybe a drum beat or bass line that the song grows from – and maybe a rough idea of how I want the vocals to fit, and from there its trial and error, building different layers to support the vocals and vice versa. 

Having been involved in the industry for a number of years – both as an artist, and as a teacher and facilitator – how would you say your attitude towards creating music has changed? 
The one thing that’s remained the same throughout all these years is that there is never enough time to actually create music – for me it doesn’t just happen, time needs to really be carved out and dedicated to writing. The more I’ve gotten involved in the music scene, the more I think it sucks! I think as an artist you’re expected to do so much more now, create new music constantly – be a content creator, pay for PR, tour constantly, pay up front for your own records/merch, it’s rough. But I’m very much looking forward to spending a summer in Berlin, swimming in the mornings and writing songs in the afternoons – this feels like a reward to myself after the release of Fall Forward and three months of pretty much constant touring.  

We’re really excited to see your live show at The Shacklewell Arms on 1st June, with your new full band! What can we expect from the show, and what do you like most about performing live? 
I’m so happy to be taking this album to The UK, especially as I’ll be joined with my new live band – I think you’ll agree they are incredible! You can expect a slightly heavier version from the record, but still with these moments of sensitivity and pop throughout. Both my bandmates sing like angels, so thats a pretty fantastic new addition, and there will also be live projections. I really enjoy the moments the songs transform to a live version, moments where structures get stretched; where we are really playing together, giving the songs a new life. No night is the same, and that feels exiting. 

Is there a specific gig you’ve played over the years that stands out as a particular highlight for you? 
Ohhh, thats a hard question! The first one that comes to mind was in March we played in Giessen, a small Germany city. It wasn’t too crowded, maybe forty people, but every single person was really there for it – dancing, cheering – and we had some great after show chats. 

And, when you’re out on tour, are there any particular essentials that you take with you to keep you going? These are my Top three tour tips: I always pack lavender perfume pouches in my luggage so my clothes always smell like lavender, not tour bag. I try and run every second morning, to get some alone time and stretch out after sitting in a van so much. I pack a t-shirt to wear only on the very last day so I return home feeling fresh.

As we’re an organisation with a focus on supporting new and marginalised artists, I just wondered how you feel the industry is for them at the moment? And do you feel much has changed over the years in its treatment of female and queer artists? 
Personally, I feel like we’ve taken a step back. I feel like in the DIY communities and collectives there’s a lot of space for Female* and LGBTQIA* artists, however as soon as there’s money involved, it feels like it’s still very much male dominated. I’m working in a venue and there’s still significantly more men on stage, as well as promoters and concert goers – I find it exhausting. As a queer female musician, however, I do think the interactions I have at gigs have improved – there’s a lot less comments like “Oh wow, you play the drums” than I received ten years ago. That’s some progress!

And are there any other artists that you’re enjoying listening to at the moment that you’d recommend that we check out? 
Two collaboration albums I’ve been loving are The Film by Sumac and Moor Mother and Send a Prayer My Way by Julien Baker & Torres. From Berlin check out Anti-Corpos, Lucy Kruger & The Lost Boys, Plattenbau, 13YC, LawnChair, Matching Outfits, Crowbaby, Okra.

Finally, aside from the very exciting upcoming UK shows, what does the rest of 2025 have in store for you? 
We’re playing a few festivals over the summer, and then I’d like to spend the rest of the year writing new music. After almost three months of touring I’m excited to be home, cook my own food, sleep in my own bed and get some of these song ideas out of head and into reality.

Huge thanks to Eilis for answering our questions! Make sure you check out Fall Forward now, and catch Eilis Frawley live in a town near you this week – we’re excited to have her play at the Shacklewell Arms this Sunday 1st June, along with lo-fi faves all cats are beautiful. Free entry, but RSVP on Dice now to avoid disappointment!

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