GIHE: Ones To Watch 2026

It’s fair to say that 2025 was another tough year, but one positive we’re taking away from it is the immense amount of incredible new music that was released and the hope of more wonderful offerings from new bands and artists in 2026.

Following on from our features about our favourite Tracks, Albums & EPs and Personal Highlights of 2025, it’s now time for us to share our Ones To Watch for 2026 – naming a handful of bands and artists who we predict will be reaching ears far and wide this year. Have a read of our choices and make sure you give them all a follow on social media to keep track of their achievements over the next twelve months.

We’ve also added tunes from our favourite albums and from the bands included in this feature to our Tracks Of 2025 Playlist, to provide the best soundtrack to the start of your 2026! Have a listen on Tidal and be sure to download songs by the artists you love from bandcamp, go and see them live, buy their merch, and spread the word. They need your support now more than ever!

Here are a few of the bands and artists we’re most excited about going into 2026…

Cowboy Hunters
Having been building a reputation in the Glasgow scene for their memorable live shows, Scottish punks Cowboy Hunters create immense riotous anthems and I was very excited when I was first introduced to their seething single ‘Mating Calls’ back in March last year. Since then, I had the complete pleasure of seeing them at Deer Shed Festival in the summer and the fiercely engaging charisma and stark dry wit that they exuded throughout their immense, instrument-swapping set exceeded all expectations. Strictly not adhering to the festival’s suggested reduced swearing policy, they raged about transphobes and needing money for drugs before ending the set by getting the whole crowd to join in doing The Macarena with them. It really was the most surreal and perfect way to kick off a Saturday morning! And, with a full EP promised in the spring, I cannot wait to see / hear what wonderfully riotous offerings they have in store for us this year. (Mari Lane – Managing Editor)


Jessie Mac
South East London DJ, producer & label owner Jessie Mac is still a bit of an enigma to the GIHE team, but we all know that we’re obsessed with her track ‘Trans Is Beautiful’ – a total gem that I unearthed in my GIHE inbox last year. It’s a powerful and incredibly catchy “sonic statement” that is equal parts poignant, political and playful, featuring the vital words of American actress & activist Laverne Cox. Jessie’s blend of club-inspired beats and shape-shifting electronics have been ricocheting between my ears for the past twelve months. We know that she’s working on new projects and music for 2026 and we’re excited to hear more of her essential LGBTQIA anthems. (Kate Crudgington – Features Editor)


Lōwli
On both our Soho Radio show and in our monthly playlist features, I consistently coined Irish composer & songwriter Lowli as one of my favourite new music discoveries of 2025. Her debut album, Window In The Woods, is a moving rumination on unsettling memories and emotions, explored through her tender keys, crystalline vocals and beautiful instrumentation. Released via VETA Records, the album provides a safe haven from the stresses of everyday life, as Lowli is adept at crafting a serene, yet melancholic world for you to immerse yourself in. I look forward to hearing Window In The Woods live one day soon. (KC)

Midori Jaeger
An artist I discovered by accident when seeing Tanita Tikaram at Royal Festival Hall in November, Midori Jaeger instantly caught my attention with their unique style of playing the cello and the soothing allure of her vocals while playing in Tikaram’s band. Originally from Japan, Jaeger has recorded three EPs and played alongside the likes of Daughter and Courtney Pine, as well as Tanita Tikaram. But, kicking off this year with the rich sparkling splendour of her new single ‘Dark Green’, I have a feeling she’ll be commanding plenty of stages in her own right throughout 2026, with her immersive, genre-defying sounds. I for one can’t wait to immerse myself in more of her captivating folk-strewn musicality and shimmering heartfelt emotion. (ML)


Pinkshift
With the release of their second album, Earthkeeper, last summer, Maryland punk-rockers Pinkshift cemented their ability to create perfectly honed, refreshingly honest modern day rock anthems. As a fierce sense of urgency and relentless grunge-tinged energy rage throughout the album alongside the gritty raw emotion of front-person Ashrita Kumar’s vocals, it offers a welcoming hit of early noughties nostalgia whilst rippling with the band’s own unique groove. Apparently the aim of the record is to inspire us to “give a fuck”, and I certainly do – about the world, but also about this exciting band who I can’t wait to see on tour with Grandson in March – the UK is in for a treat! (ML)


Sijya
South Asian composer and producer Sijya crafted one of my favourite EPs of 2025, Leather & Brass, so it will come as no surprise that I have chosen her for our Ones To Watch feature too. Signed to the prestigious One Little Independent Records, Sijya’s experimental spirit is reflected in her music, which is an idiosyncratic blend of digital and analogue synths, drifting vocals and atmospheric beats. I was sad to miss her performance at the Tate Modern last year, where she played her EP live in the iconic turbine hall as part of their Tate Lates series, but I’m hoping to hear her expansive electronica in the flesh at some point in the near future. (KC)


Um, Jennifer?
Having first won me over with the playful energy of 2023 single ‘Girl Class’, New York trans duo Um, Jennifer? continued to be total faves last year with the release of their new album, Um Comma Jennifer Question Mark. Oozing so many deliciously scuzzy lo-fi pop-punk vibes, the album reflects on trans identity, lust and obsession, whilst offering a wonderfully empowering ode to defying expectations and not fitting into the moulds that society often places on us. Their band bio says “Fig and Eli met at a party in Brooklyn. Eli wanted to hook up with Fig’s friend. Now they make music together for nobody except the vengeful god, Jennifer. Jennifer thinks their music sucks.” I’d have to disagree with Jennifer, and have a feeling many other people will throughout 2026. (ML)


Yakkie  
Having been privileged enough to attend Yakkie’s first ever gig back in 2023, and since witnessing their immense live presence on more than one occasion, it had felt like a long wait for the debut single from the incredible supergroup back in October. Fronted by interminable force of nature Janey Starling (formerly of Dream Nails) and featuring Robin Gatt (Personal Best, Petrol Girls), Laura Ankles (Colour Me Wednesday, The Dumb Blondes) and Maeve Westall (Jasmine.4.t, itoldyouiwouldeatyou), it was amazing to see this absolutely epic collective of faves come together in all their seething punk-rock glory last year, offering the rage, joy and unity we all so desperately need. And now, with their debut album set for release in February, I cannot wait to be treated to plenty more of their relentless riffs and swirling empowering energy. Entitled Kill The Cop Inside Your Head, of the album Janey explains: “If we want a better world, we must first be able to imagine one. To do that, we have to kill the cop inside our head. Go to the protest! Join your union!” Offering a fierce, rallying cry for unity and rebellion, it’s now more important than ever to have bands like Yakkie, not afraid to speak up for what’s right and use their platform as a real force for change. I’m extremely grateful they exist and look forward to having them see us through 2026. (ML)

Despite our apprehensions about 2026, at least we’re heading into the new year with some fantastic music to accompany it. Huge love and thanks to all the bands and artists who continue to soundtrack our lives and offer hope that we can resist those seeking to oppress marginalised groups and continue to create powerful communities that bring joy, strength and comfort. And massive thanks to all who supported GIHE throughout 2025 and for the last ten years (!) – it really means the world.

Throughout 2026, if possible, please support your favourite artists by downloading their music from bandcamp, following them on social media and nabbing tickets to see them live! For a taste of who to follow next, listen to our playlist of 2025 favourites here.

A great way to discover your new favourite band is to come along to our GIHE gigs! Next up, we’re at The Waiting Room on 16th January with South London post-punk faves Hadda Be, plus support from Sussex alt-rockers Shallow Honey and upcoming shoegaze dreamers Mannequin Flowers. Tickets are on DICE now and they are always cheaper in advance!

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GIHE: Albums & EPs of 2025

After sharing our Tracks Of 2025 last week, the Get In Her Ears team want to shine a light on some of the brilliant Albums & EPs that have been released during the past 12 months. These eclectic records resonated with us deeply and we hope they’ll do the same for all future listeners.

Huge thanks to all of the bands and artists who have submitted music to us this year. We appreciate how much love, determination, money and admin goes into creating your records and we feel privileged to have been able to share your art with our community.

So, in alphabetical order (and including multiple ‘Honourable Mentions’ at the end because we hate leaving people out) here are our top Albums & EPs of 2025…

 

ALBUMS

Blonde Maze – Second Sight

It wouldn’t really be an end of year round-up if I didn’t include New York artist Blonde Maze. Since immediately falling in love with her debut EP, Oceans, back in 2015, she’s consistently been my most listened to artist year on year for the last decade. I just find that their music brings such a blissful catharsis and soothing energy every time; whatever mood I’m in, however I’m feeling, it just helps me feel better. The sparkling uplifting splendour of this year’s Second Sight is no exception – it hits perfectly every time.
(Mari Lane – Managing Editor)

Blondshell – If You Asked For A Picture

Since seeing Blondshell live at Electric Brixton back in September, I think I’ve had her second album If You Asked For A Picture pretty much in constant rotation, seeking daily catharsis in the raw emotion and sparkling ‘90s-tinged musicality of each track. Offering honest and heartfelt reflections on both romantic and familial relationships, Sabrina Teitelbaum evokes a beautifully endearing vulnerability and all-too relatable insight into everyday anxieties. (ML)

Blue Loop – Cycles

Cycles is a deeply personal work from London-based electronic musician & producer Emma Hall aka Blue Loop; inspired by her experience of being diagnosed with breast cancer and undergoing chemotherapy treatment. Now in remission, Emma spoke candidly to us about the inspirations behind specific tracks when she was a guest on our Soho Radio show earlier this year. Whilst living through a life-altering diagnosis, Emma managed to create this moving, majestic record that fluctuates in mood, volume and tone in order to reflect her feelings during the different ‘cycles’ of her treatment. Whether she’s feeling rightfully resentful on shadowy single ‘The Knife’ or immersed in romanticism on ‘Luxury Chords’, Emma juxtaposes her emotions with precision and passion, reflected in her earnest lyricism and shape-shifting electronics. (Kate Crudgington – Features Editor)

Breakup Haircut – No Worries If Not!

London DIY legends Breakup Haircut formed at First Timers Fest and have been such huge favourites of ours ever since. I’ve lost count of the number of times they’ve played live for us since their first GIHE gig back in 2019. They’re just such a joy every time. Even at our gig with Strange New Places a couple of months back when Ishani was sadly unwell and couldn’t make it; Ripley, Delphine and Jordan still managed to put on an incredible show which I think perfectly epitomises their relentless DIY spirit. Their second album No Worries If Not! only came out last month, but it’s definitely in my top releases of the year. It fizzes with all the playful sardonic wit and scuzzy punk-pop energy we know and love throughout; whilst angst-driven undercurrents and fierce hooks indicate a more honed, sharper sound for Breakup Haircut. They may also win the prize for best song titles, with tracks including ‘The Algorithm’s Trying To Kill Me’ and ‘Two Spaghetti Meals’. (ML)

Daffo – Where The Earth Bends

The songwriting project of Brooklyn-based, Philly-raised Gabi Gamberg, Daffo has been a highlight of the year for me, with their debut album Where The Earth Bends pretty much on repeat since its release in September. Interweaving a scuzzy indie-pop musicality with a searing raw emotion and glistening heartfelt grace, it’s a deeply personal and beautifully resonant collection that showcases Gamberg’s unique gift for writing songs that really do feel like they reach out and gently caress how you’re feeling. The GIHE team also managed to catch Daffo live at The Great Escape in May this year, and watching such a gorgeous set alongside Hanni and Clara from ARXX and Rach from Comic Sans was a definite highlight of the weekend for me! (ML)

flinch. – misery olympian

Having played live for us twice this year – in June at The Cavendish Arms and recently at their special festive Flinchmas celebration at The Ivy House – Glasgow’s flinch. also spent 2025 releasing their second album. Building on the distinctive shimmering emo sound of 2021’s enough is enough, with misery olympian they cement themselves as complete favourites. From start to finish, the album oozes a scuzzy raw emotion and fizzing sense of honesty, with incredibly witty (and long!) song titles like ‘i wonder if colin from endoctrinology remembers me’. It’s one of my favourite albums, not just of this year, but probably from the last decade. (ML)

Floralis – Saboteur Club Anthems Vol. 1

Brighton-based artist Floralis makes dismantling fascism sound like a total BLAST on this eccentric and essential record. On the superbly titled Saboteur Club Anthems Vol. 1, the British born, Indo-Trinidadian transfeminine artist blends stomping dance-inspired rhythms and chant-worthy lyrics to create a collection of “anarchist electro punk” anthems that confront and reject capitalism, transphobia, misogyny and racism. From the bold opening beats of ‘black combat boots’ right the way through to the euphoric electronics of closing track ‘YOU’RE NOT DEAD’, Floralis is committed to sabotaging fascism in their own defiant style. She said that her “blood, sweat and tears” were poured into this record and that shines through on every track. (KC)

Jacob Alon – In Limerence

Although I was pretty late to the Jacob Alon party, from the moment I heard the Scottish artist speaking to Annie Macmanus and Nick Grimshaw on the BBC Sidetracked podcast earlier this year, I immediately felt drawn to their beautiful sensitivity. Then, on listening to their exquisite album, In Limerence, I found myself completely spellbound. I was lucky enough to catch them live at Deer Shed festival, where they delivered each of their strikingly stirring offerings with a shimmering heartfelt splendour against a poignant backdrop of the Trans Pride and Palestinian flags; filling me with a warm sense of hope that the young people in the crowd were able to absorb the uplifting sense of queer joy and subtle resistance that radiated from the stage. Both live and on record, I can feel the raw emotion of each and every word of the entirety of In Limerence, inspired by Cob’s insight and conviction. I’m excited to be charmed by more of their captivating creations next year. (ML)

jasmine.4.t – You Are The Morning

Having featured as one of my Ones To Watch for 2025, jasmine.4.t has certainly been worth watching this year. With the release of her debut album, You Are The Morning, back in January on Phoebe Bridgers’ label Saddest Factory Records, sold out tours across Europe, Australia and the US and numerous support slots with Lucy Dacus; it’s been such a fantastic year for jasmine and every success is so, so well deserved. The album has probably been my most-listened to of the year. It’s just an exceptionally beautiful reflection on trans identity and queer belonging and a truly necessary and heartfelt ode to community and solidarity. I’ve been lucky enough to catch jasmine live a few times over the last couple of years – each time has been such a wonderfully moving and empowering experience and I can’t wait to see her again at Deer Shed festival this summer. (ML)

Lōwli – Window In The Woods

A moving, introspective offering that sees her processes unsettling memories and emotions with true serenity; Window In The Woods is the beautiful debut album from Irish composer & songwriter Lowli. Released via VETA records in October, through her tender keys, crystalline vocals and atmospheric electronics, Lowli gracefully guides listeners through her magnetic musical ruminations. I’ve mentioned (multiple) times both on air and online that she is one of my favourite new music discoveries this year and my admiration only increases each time I revisit Window In The Woods. It’s a record that’s equally as laced with melancholy as it is with hope and love, which means something new is gained from every listen. (KC)

Mae Martin – I’m A TV

I’ve been such a huge fan of Mae Martin since watching Feel Good five years ago helped me discover things about myself that I don’t think I’d realised yet. And then, since last year, I’ve been completely addicted to the Handsome podcast which they host with Tig Notaro and Fortune Feimster. It’s one of the few things I’ve ever come across that literally makes me laugh out loud every time. It’s just so deeply comforting and relatable and so, so silly in the best possible way. So, when they shared that they were going to be announcing their debut album, it felt perfectly serendipitous and I was intrigued. A stirring collection of lilting alt-folk reflections on relationships and identity, with I’m A TV, Martin proves themselves to not only be a fantastic actor, screenwriter and comedian, but also an accomplished musician and beautifully reflective songwriter. (ML)

NYX – NYX

By harnessing the sublime power of the collective human voice, the NYX drone choir have crafted a unique form of “psychedelic rebellion” on their eponymous debut album. Released via their own label, the ensemble – led by New Zealand-born composer & director Sian O’Gorman and made up of multi-talented vocalists & musicians – use electronics to manipulate their vocals and create their own idiosyncratic sounds; expanding the realms of what a traditional choir is capable of. I have been fortunate enough to witness the immense musical alchemy of NYX’s live performances several times; something which they have now truly harnessed on this debut solo offering. Inspired by Sian’s holistic and deeply human approach to singing, NYX have developed a collection of sounds that enrapture, inspire and intrigue the more that you engage with them. This is a profoundly moving record, best appreciated when listened to in one full sitting with headphones on and eyes closed. Total bliss. (KC)

Pigeon Dog – Beaks

Pigeon Dog’s debut album Beaks channels ’90s grunge with raw, Brody Dalle–esque vocals that grab you from the first note. The London three-piece blend warm tones with gritty guitar riffs and playful, tongue-in-cheek lyrics; proving they know how to have fun. The band mix catchy riffs and ear-wormy vocal hooks with rich harmonies, layering in ’60s psych-inspired synths for added texture. Their songs balance grit and groove perfectly, resulting in tracks that are both sultry and irresistibly catchy. Pigeon Dog know how to craft bangers that stick in your head while keeping the spirit playful and engaging.
(Ella Patenall – Contributor)

Roller Derby – When The Night Comes

I was lucky enough to work with German dream-pop duo Roller Derby helping them to spread the word about their second album, When The Night Comes, earlier this year; a task which wasn’t hard to do, as the album is just completely exquisite and impossible not to like. Showcasing the duo’s ability to meticulously interweave the luscious celestial vocals of Meyer with glistening multi-layered soundscapes and raw textures, it offers a truly captivating listen throughout. One of my definite highlights of the year was hosting not one, but two sold out shows with Roller Derby back in May. It was such a joy to be able to facilitate them being able to share their immersive, spellbinding sounds with adoring crowds at The Lexington in London and The Rossi Bar in Brighton, with perfect support from other favourites CATBEAR. A completely dreamy weekend. (ML)

Scrounge – Almost Like You Could

The follow-up to their debut mini-album Sugar, Daddy (2022), Almost Like You Could is the first full-length offering from South London post punk duo Scrounge. Together, lead vocalist & guitarist Lucy Alexander and drummer & vocalist Luke Cartledge move through chaos and despondency towards hope and redemption on this biting, vital collection of tracks. Whether Lucy is reflecting on the never-ending process of “coming out” as an queer person on ‘UTG’, or Luke is lamenting about urban isolation on ‘Nothing Personal’, Scrounge manage to hit the right nerve every time. Released via Ba Da Bing! Records, Almost Like You Could is a potent reminder that Scrounge remain driven by the desire to create meaningful art that represents who they are, as well as the voices of the allies and DIY communities they’re part of – something that we back all the way at GIHE. (KC)

Snocaps – Snocaps

Being a huge fan of both Waxahatchee and Swearin’, I was pretty exited to hear about new supergroup Snocaps. Featuring Katie Crutchfield and her twin sister Allison, along with MJ Lenderman and Brad Cook, this collaboration really is the stuff actual dreams are made of. This debut album flows with such a gorgeous, fuzzy allure and gloriously twee folk-strewn musicality and I cannot get enough of its beautiful, lilting energy. (ML)

Strange New Places – Second Puberty

The debut record from Belfast queer punks Strange New Places, Second Puberty has definitely been one of my most listened to albums of 2025. Another band who I was lucky enough to be able to host in both London and Brighton back in October, live they brought a joyous queer energy and a really life-affirming sense of unity, whilst the album as a whole offers a fierce celebration of queerness and neurodivergence. From heartfelt odes to friendship in the form of ‘Coraline’ and ‘YATPYFL’ to ‘Sleep For Dinner’s scuzzy reflection on burnout and depression and the empowering self-love anthem ‘Full Of Myself’; it celebrates the power of community, offering a a reassuring voice of solidarity and unity at a time when we so desperately need it. (ML)

Wombo – Danger in Fives

Kentucky-based, art-rock trio Wombo blend prog, indie, experimental, and psych influences with intelligent musicianship and bold artistry. Their tracks range from accessible to delightfully challenging, with soft, airy vocals floating over unusual, wonky guitar parts and driving basslines. Nothing is straightforward or predictable, yet the band manages to keep even their most experimental moments melodic and earwormy – with the occasional touch of dissonance, keeping you on edge. Angular and gritty guitars and inventive melodies mark Wombo as a band unafraid to push boundaries while still creating music that sticks. Danger in Fives is a great portrayal of what they are capable of. (EP) 

EPs

Junk Whale – See you around, I guess?

Having been big fans of Oxford’s grunge-pop faves Junk Whale since first hearing their 2022 debut, the fantastically named Caught In The Act Of Looking Weird, I was super excited when they released a gorgeous new EP back in May. Since then, See you around, I guess? has been another collection I’ve found myself playing non-stop, unable to get enough of its scuzzy raw emotion and lilting indie-pop energy. Despite covering poignant themes such as grief and mental illness, the EP as a whole oozes an uplifting effervescent spirit, each track offering an instantly catchy jangly earworm (and not a repeating chorus in sight!) The band supported Strange New Places at their London gig for us and really are a true force to be reckoned with live – there was “hairography” and everything. (ML)

THE NONE – CARE

I chose Birmingham-based experimental punk supergroup THE NONE as one of my Ones To Watch for 2025 after hearing their abrasive, politically driven cacophonies in the flesh at Supersonic Festival the previous year. CARE is the follow up to their debut EP, MATTER, and it’s another ear-eroding collection of visceral vocals, hefty riffs and pulverizing percussion. Front person Kai Whyte has a formidable voice; paired with a talent for writing engaging lyrics that cut through the masterfully intense, frenetic sounds that their bandmates Gordon Moakes, Jim Beck and Chris Francombe create. From the rallying cry of opening track ‘My People’ to the relentless riffs of closer ‘On Automatic’, CARE is both an assault on the senses and a vital reminder to aggressively challenge the status quo. I urge you to go and see this band live. You will be blown away by their talent. (KC) 

Problem Patterns – Boring Songs For Boring People

Equally informed by their desire for provocation, self-deprecation and amplification; Boring Songs For Boring People is another urgent and essential offering from Belfast queer punks Problem Patterns. Released via Alcopop! Records, the EP sees the four-piece reflect on the trials and tribulations of being in a DIY band and their frustrations at the performative behaviour of industry officials and musicians in the spotlight. In true Problem Patterns style, they tackle these subjects with cathartic screams, witty lyrical refrains and relentless riffs; undermining the idea that Alanah, Beth, Bev and Ciara could ever be accused of living up to the EP’s title. Whether they’re overcoming burnout on the record’s title track or shouting back against noisy neighbours on ‘Classic Rock Has Become My Prison’, Problem Patterns transform the mundanity of everyday life into intensely catchy punk anthems that provide the necessary rage, joy and catharsis we’ve been craving. (KC) 

Sijya – Leather & Brass

An idiosyncratic blend of digital and analogue synth textures and drifting atmospheric vocals; Leather & Brass is the second EP from South Asian composer and producer Sijya. Released via One Little Independent Records, this collection of tracks is a testament to her artistic resilience and experimental energy. Across the EP, Sijya’s immersive electronics intuitively expand and contract, providing her with the much-needed emotional space she craves in her music. Her ambiguous lyrical motifs afford listeners the same catharsis, as they float seamlessly over shape-shifting soundscapes like ‘I only want to crash’ and ‘Why do you fight me’. Leather & Brass is an essential listen for anyone who is looking for escapism through eccentric, intriguing electronica. (KC)

TTSSFU – Blown

By opening her second EP with a track titled ‘Cat Piss Junkie’, Manchester-based artist Tasmin Stephens aka TTSSFU has cemented herself as a candid new icon of guitar music. Full of her lush vocals and dreamy, shoegaze-inspired sounds, Blown is an ode to Tasmin’s growing pains as both an artist and a young woman; full of her reflections on friendship, unrequited romances and messy nights out. She is adept at tackling shame, humour and vulnerability in her lyricism; underscoring this with hazy, reverb-strewn guitars and heady dream-pop melodies. From the lush sounds of ‘Forever’ and ‘Call U Back’ through to the sweet discordance of ‘Being Young’, she faithfully captures the indecisive and exciting energy of being in your 20s and navigating the uncertain world around you. She is also just really funny, which you’ll see if you read this conversation I had with her for The Line Of Best Fit earlier this year. (KC)

 

Honourable Mentions

adults – the seeds we sow are sprouting buds nonetheless
Agnes Haus – Inexorable Ascent
BACKXWASH – Only Dust Remains
Bonnie Trash – Mourning You
The Dead Zoo – Suspects
Eilis Frawley – Fall Forward
Ethel Cain – Willoughby Tucker, I’ll Always Love You
feeo – Goodness
Glixen – Quiet Pleasures
Hilary Woods – Night CRIÚ
Japanese Breakfast – for melancholy brunettes and sad women
Jessica Winter – My First Album
Julien Baker & Torres – Send A Prayer My Way
Kae Tempest – Self Titled
Kathryn Mohr – Waiting Room
Klein – Sleep With A Cane (Mixtape)
Lucy Dacus – Forever Is A Feeling
Mari Somerville – Luster
Nastazia Bazil – From Beirut To Anywhere
The New Eves – The New Eve Is Rising
Penelope Trappes – A Requiem
The Schla La Las – The Schla La Las Are Out To Have Fun
Slung – IN WAYS
Various Artists – vari/ations – Ode to Oram
WISP – If Not Winter

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LIVE: Tanita Tikaram @ Royal Festival Hall, 15.11.2025

I think I’ve written before about how much of an influence on my musical tastes my dad has been. Growing up – whether at home, or in the car on long journeys up to Birmingham to see my grandma, or down to Cornwall for the summer – there was always music playing. Sounds ranging from ‘60s rock to ‘90s trip-hop, and everything in-between, I was able to experience an eclectic sonic smorgasbord from a very young age. One of the more ‘in-between’, genre-defying sounds that we would frequently enjoy together was Tanita Tikaram’s 1988 album, Ancient Heart. Even as a young child, the deep gravelly tones of her vocals, soaring alongside the lilting folk-tinged musicality, seemed to really take hold. I have so many memories of both singing along with my dad, and then later as a teen – after stealing the CD for my own collection – seeking catharsis in the sweeping raw emotion and striking lyricism whilst listening on my walkman on the way to school. 

So, when I heard that Tanita Tikaram was playing at Royal Festival Hall as part of the EFG Jazz Festival the same weekend that my parents had planned to come up to London, it seemed like the perfect opportunity for a dad-daughter nostalgic evening out. 

Celebrating the release of her latest album, LIAR (Love Isn’t A Right), Tikaram makes an entrance alongside a host of accomplished musicians, the matching deep orange hues of her shirt and shoes adding to the warm glow that exudes from the stage throughout the entirety of the evening. Opening with ‘World Outside Your Window’, the gently empowering anthem from her debut that – upon its release – showcased Tikaram’s clarity and emotional experience beyond her 19 years, and now highlights the timeless quality of her songwriting as it sounds as resonant and energising as ever, the set continues to perfectly juxtapose the past and present as Tikaram flits between instruments and decades. 

Intricately describing the inspiration behind each song, from young ideals of love to all-encompassing issues such as hopes for the freedom and safety of all people, Tikaram shares an endearing vulnerability as she opens up about her songwriting process and influences, adding a welcome sense of intimacy and rapport to the performance. And musically, from the sweeping strings and majestic grandeur of new album track ‘This Perfect Friend’ and exquisite heartfelt grace of Ancient Heart’s ‘Valentine Heart’ (played as a stripped-back duet between Tikaram and her violinist Helen O’Hara), to the blues-inspired hooks of 2016’s ‘Cool Waters’ and immense beats (thanks to drummer Marc Pell) of 2012’s ‘Heavy Pressure’, she showcases her ability to interweave a variety of different styles into something entirely her own. 

Throughout the evening, Tikaram pays homage to a number of other artists who have influenced her in some way. From sharing that the inspiration behind the name of the new album comes from the Molly Drake (mother of Nick) song ‘Love Isn’t A Right’, and referencing Philip Glass’ ‘Night Train’, to dedicating Nina Simone’s ‘Wild Is The Wind’ to her partner Natasha and joining her cellist Midori Jaeger in a spellbinding rendition of John Martyn’s ‘May You Never’, the passion she feels for music and the songwriting process, and her gratitude for those who’ve come before, clearly shines through from start to finish. And, when she talks about how much of an impact her parents’ record collection has had on her (“luckily they had good taste”), I turn to my dad, feeling extremely lucky to be have been in a similar position, and grateful to be able to share such a special evening of music with him. 

Whilst the performance continues to exude an intimacy throughout, as we gain an insight into Tikaram’s personality and warmth as she shares details like this, she doesn’t lose sight of the bigger picture, of her dedication to using her platform as a musician to expose societal truths and express solidarity with marginalised communities. Having discussed the need for, and comfort to be found in, community earlier in the set, she goes on to recognise that “we have so much more in common than what separates us” before introducing the London Gospel Choir who join her for recent single ‘I See A Morning’; their soaring voices adding a stirring sense of unity to the performance. 

Flowing with an engaging warmth throughout, this wholesome evening not only showcases evidence of Tikaram’s timeless talent as a songwriter and sound ability to orchestrate a band of incredible musicians, but it also seems to offer a beautifully open celebration of her queer identity; each song bringing with it its own unique sense of joy and pride. A sentiment which is highlighted by the fact that she has been raising money for Switchboard (the LGBTQIA+ support line that I volunteer for) with each sale of a special rainbow picture disc of LIAR (Love Isn’t A Right).

Tanita Tikaram’s latest album LIAR (Love Isn’t A Right) is out now.

Mari Lane
@mari_getinherears

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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

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