PLAYLIST: August 2025

We’re publishing our August Playlist slightly later than planned, but we hope our eclectic mix of punk anthems; indie and alt-folk gems, evocative beats, emotive electronic soundscapes & instrumentals will still provide the perfect soundtrack for your eager ears! Make sure you take some time to scroll through our recommendations below.

In order to best support the female, LGBTQIA+ and non-binary artists that we love here at GIHE, we are moving away from using Spotify as our main playlisting platform, so we have included YouTube and/or bandcamp links for all of the tracks on this playlist. You can still access our GIHE profile on Spotify (which we do not have a paid subscription for) but we are in the process of choosing a different platform to share new music with you.

As always, we encourage you to follow the artists below on their social media, sign up to their mailing lists, go to their gigs and buy their records from bandcamp.

 

Breakup Haircut – ‘The Algorithm’s Trying To Kill Me’
We’re so so excited to see the return of DIY faves and First Timers alumni Breakup Haircut! Following 2022’s fantastic debut, Punk Dancing For Self Defence, they’ve now released the first in a string of new singles ahead of a second album – due for release this autumn via INH Records. A deeply relatable anti-capitalist anthem, ‘The Algorithm’s Trying To Kill Me’ showcases the band’s trademark playful sardonic wit and scuzzy punk-pop energy whilst angst-driven undercurrents and fierce hooks indicate a more honed, sharper sound for Breakup Haircut. I’m very much looking forward to hearing more from them soon, which we all can when they join us at New River Studios on 10th October, supporting Strange New Places with Junk Whale. Nab tickets on DICE now! (Mari Lane – Managing Editor)


Problem Patterns – ‘Classic Rock Has Become My Prison’
Ahead of their upcoming new EP, Boring Songs For Boring People, due via Alcopop! Records on 12th September, and following recent release ‘I’m Fine and I’m Doing Great’ (which was on the BBC 6Music playlist for four weeks!) Belfast queer punk pals Problem Patterns have now shared this immense new single. Offering a wonderful parody on the sexist ideals of many classic rock heroes, ‘Classic Rock Has Become My Prison’ was initially inspired by Bev feeling imprisoned by her neighbour’s daily blasting out of certain bands at an obnoxiously loud volume, and has developed into a fiercely raging ‘cock-rock’ anthem.

Of the track, Bev explains: “the more I thought about classic rock tunes, the more I thought about the sexism and misogyny rampant in the lyrics of even the most popular songs. Musically, we took on classic rock alter-egos, ripping solos, chugging riffs, hitting the drum fills just right, before letting loose that patented PP anger.” Prizes for anyone who can identify any of the twenty five cocky lyrical references patchworked into the song – I think I can name a few, which I might run by the band when THEY HEADLINE OUR 10TH BIRTHDAY ALL DAYER ON 27TH SEPTEMBER! We cannot wait. Tickets are now officially sold out, but feel free to join the waiting list on DICE in case anyone has to return theirs. If you have a ticket, we’ll see you at The Cavendish Arms on the 27th, along with so many other faves like Fightmilk, The Baby Seals, Ray Aggs, Jemma Freeman and The Cosmic Something and more!
(ML)

Madame So – ‘Sick Of It All’
Indie art-punk artist Madame So is back with an aptly named new single ‘Sick Of It All’, a cathartic anthem inspired by the need to stand in solidarity with oppressed nations and victims of war crimes. It was originally written in 2024, but Madame So’s anger and lyricism remain just as relevant a year on. She wants to be clear that the song is not about exploiting suffering, but about “using music as a tool to open eyes and spark conversations that matter.” (Kate Crudgington – Features Editor)

CARNE – ‘VAST’
This is the second single from Brighton-based grunge four-piece CARNE, who are fronted by vocalist and guitarist Carmen Mellino. ‘VAST’ is both a “tribute” to a niche band of the same name that Carmen admires, as well as an exploration of the complexities of human connection and how this can be affected by the intensity of touring as a band. It’s full of crushing riffs and lush melodic vocals, inspired by iconic ’90s grunge icons like The Smashing Pumpkins and Hole. (KC)

Yuppie Supper – ‘Neocanine’
A new favourite band for sure, Leeds based DIY trio Yuppie Supper are set to release their second EP, The Mondegreen, on 10th October, and our first taste of that comes in the form of recent single ‘Neocanine’. Voicing their frustration at being forced to choose between the far right and more of the neoliberalism of the last 40 years, the band offer trans-lead, grunge-fuelled anthems, and I can’t get enough of their fiercely angst-driven energy. (ML)

Vanelle – ‘Blue Curls’
‘Blue Curls’ is an angst-ridden reflection on adolescence from Berlin-based trio Vanelle. Released via Beans On Toast Records, the newly launched sub-label of Duchess Box Records, the track is taken from the band’s upcoming self-titled EP, which is set for release on 3rd October. Through heartfelt lyrics and brooding guitar riffs, the band explore what it’s like to feel left out and like you don’t fit in when you’re growing up. (KC)

steel. – ‘DFTTM’
I was lucky enough to attend a day of Decolonise Fest at Signature Brew – a fantastic event promoting punks of colour and their community. Starting off with an incredibly inspiring and informative panel from YWMP, Good Night Out Campaign, Spark The Noise and Off Shoot Tours about creating safer spaces for marginalised groups to enjoy live music, the day and evening was filled with so much incredible live music, including the playful, jazz-tinged energy of Coventry’s The Genes, post-punk legends Bona Rays and the driving frenzied indie anthems of Liverpool’s ones to watch, steel. (ML)

adults – ‘patterns’
Set to release their second full-length album next month, South London indie-punks adults have now shared the first taste of what to expect. A nostalgic ode to London’s DIY scene, offering a wistful reflection on how the city’s changed and the deep sense of loss that has come with this, ‘patterns’ flows with the band’s trademark jangly energy and fuzzy hooks. As twinkling harmonies ripple with a gentle raw emotion, it builds with an anthemic sense of hope as sparkling synths conjure memories of dancing into the night at beloved venues like Moth Club and Power Lunches. I can’t wait to hear more of the band’s beautifully heartstring-tugging, head-bopping creations when they play the Divine Schism all-dayer at New River Studios next Saturday 13th September. the seeds we sow are sprouting buds nonetheless, the upcoming new album from adults, is set for release on 31st October via Fika Records. (ML)

Jessie Mac – ‘Trans Is Beautiful’
This is a powerful (and incredibly catchy) “sonic statement” from South East London trans DJ, producer and label owner Jessie Mac. By sampling the words of American actress and LGBTQ advocate Laverne Cox and combining them with her own shape-shifting club beats and electronics, Jessie has created an LGBTQIA anthem that is equal parts poignant, political and playful. (KC)

Tusks – ‘Adore’ remix by I.JORDAN
I loved the evocative, original version of ‘Adore’ by London-based artist Tusks (released back in 2024), lifted from her third album, Gold. This re-imagining by Doncaster-born, London-based DJ I.JORDAN is completely different – fueled by an infectious dance beat – but it still retains the emotive pull of Tusks’ original release. This track will feature on Tusks’ upcoming EP, Gold – The Remixes, due on 1st October via One Little Independent Records. (KC)

Stealing Sheep – ‘Take Me Back’
The latest single from Liverpool’s Stealing Sheep, ‘Take Me Back’ is propelled by glitchy immersive beats as euphoric, swirling synth-driven hooks create a “rave-drenched fever dream”. A playful, ‘80s-inspired ode to surrealist art-pop and the joyous glow of nights spent on dancefloors into the early hours. ‘Take Me Back’ is our first taste of GLO, the band’s upcoming new album. (ML)

Ho99o9 ft. Nova Twins, Pink Siifu, Yung Skrrt – ‘Incline’
A DREAM collaboration here from two personal favourites: rap-punk duo Ho99o9 and alt-heavy icons Nova Twins. The girls’ incendiary riffs perfectly underscore Ho99o9’s visceral verses. The track features on the Ho99o9’s upcoming album, Tomorrow We Escape, which is set for release on 9th September. The record will also feature a contribution from Chelsea Wolfe – I can’t wait to listen to it in full. (KC)

Pets and Doom and Gloom – ‘Mina’
This track from London-based dark electronic duo Pets and Doom and Gloom is peak “Gloomy Grrrl” territory. ‘Mina’ is lifted from the band’s debut EP, Lone and Level, which was released on 5th August to coincide with oil giant BP’s quarterly earnings announcement. The band’s apocalyptic sounds and haunting vocals are their way of pushing back against a damaged world; something that’s epitomised on ‘Mina’ which they describe as “a trip hop tale of vengeance.” (KC)

Tyler Holmes – ‘Copy’
Having first fallen in love with innovative artist Tyler Holmes’ poignant electronic soundscapes back in 2021 when they released their album, Nightmare In Paradise, I was excited to see their name crop up in my inbox again last week. Set to release an experimental new album at the end of the month, over the last few years Holmes has experienced a great deal of change in their life – including the death of a parent and heartbreak – though the new record focuses more on the theme of the natural world and how we accept our place in it. Beautifully interweaving stark reflections into textured soundscapes that evoke both the serene and brutal side of nature, the album is built on the bones of ‘The Southern Reach Trilogy’ by Jeff Vandermeer and ‘No.44, The Mysterious Stranger’ by Mark Twain. Patience, the upcoming new album from Tyler Holmes, is set for release on 26th September via Ratskin Records. (ML)

Sijya – ‘I Only Want To Crash’
Another idiosyncratic, atmospheric soundscape here from South Asian composer, producer and graphic artist Sijya. ‘I Only Want To Crash’ is lifted from Sijya’s upcoming EP, Leather & Brass, which is set for release via One Little Independent Records on 12th September. The track evolved from an instrumental to include her ambiguous lyrical motifs, affording Sijya the emotional release she craves. (KC)

feeo – ‘The Mountain’
London experimental artist feeo is new to me, but I was transfixed by her calm voice and ambient drone sounds on this single ‘The Mountain’. Released via label AD 93, the track is inspired by the “dualities of the natural world” and how it can be both brutal and beautiful. (KC)

VERA SACRA – ‘Burning’
I found listening to this soundscape from experimental cellist, vocalist and producer VERA SACRA strangely soothing. Lifted from her debut EP, sacred spring, released via EMI North & Launchpad+, ‘Burning’ is a beautiful reflection on the artist’s “fractured yet vivid inner world.” She wrote and recorded her EP whilst travelling between Latvia, Estonia, London, & Sheffield, whilst also struggling with psychosis at the time. The result is a glitchy but captivating collection of tracks that showcase her immense talent. (KC)

The New Eves – ‘Astrolabe’
Congratulations to Brighton-based four-piece The New Eves who released their debut album, The New Eve Is Rising, earlier this month! The band blew us away with their unique live performance of what they have coined as “Hagstone Rock” when we saw them at The Great Escape Festival earlier this year and we can’t wait to catch them again at their headline show at London’s Hoxton Hall on 7th October. (KC)

Daffo – ‘Dagger Song’
Set to release their debut album later this month, Gabi Gamberg – aka Daffo – has shared stirring new single ‘Dagger Song’. I’m such a big fan of the LA based artist and the sparkling, heartfelt emotion that seeps through all they create; even more so since seeing them live at The Great Escape this year. Watching them alongside Hanni and Clara from ARXX and Rach from Comic Sans was a big highlight of the weekend for me! Their debut album, Where The Earth Bends, is out on 26th September via Concord Records, and they will be playing a few dates in the UK in October, including The Lower Third in London on 31st October – a nice Halloween gig. (ML)

The Cords – ‘I’m Not Sad’
The latest single from Scottish duo The Cords, ‘I’m Not Sad’ offers a perfectly upbeat, short and sweet blast of joyous energy. Propelled by a lilting surf-pop energy and singalong refrains, it’s a gloriously glistening slice of indie-pop with shades of the likes of fellow Scots Camera Obscura or Belle and Sebastian. I can’t wait for the release of their debut album on 26th September via Skep Wax Records. (ML)

The Schla La Las – ‘1234’
A supergroup of sorts, lead by Piney Gir, The Schla La Las built up a reputation for their joyous live shows within the indie-rock scene of the early noughties. Now, after being away from our ears for eighteen years, they have returned with a wonderfully uplifting new single. Showcasing their punky, poppy energy and sugar-sweet allure perfectly, ‘1234’ is accompanied by a super cute, strangely empowering, lego-stop motion video for the song. Find out more on our premiere feature here. You can witness the sparkling allure of The Schla La Las live at Dream Bags Jaguar Shows on 15th November. (ML)

jasmine.4.t – ‘Woman’
GIHE favourite jasmine.4.t has recently shared a heartfelt fan film to accompany her song ‘Woman’. Of the song and video, she explains: “We wanted to show the world this queer love and solidarity, to show the world that trans people are loved, to show the world all of the beautiful responses we have to trans art. So we put out a call for video clips from fans of them responding to ‘Woman’, singing, playing, dancing. We edited the clips into this, a fan video for the song and I can’t believe how beautifully it has turned out.”

Watch the incredibly beautiful video and please have a look at the information shared by Not A Phase about the recent EHRC proposals for the mandatory exclusion of trans people from gendered spaces, the terrifying consequences this could have and next steps that we can take to stop it being put into effect. You could also donate to The Good Law Project who run loads of great campaigns and are challenging the Supreme Court’s ruling to overturn the Equality Act, as it seeks to take away further rights of trans people – breaking actual Human Rights Laws. (ML)

Ailsa Tully – ‘Choosing’
Following recent releases ‘Self Soothing’ and ‘Womb Room’, Welsh artist Ailsa Tully has now shared stirring new single ‘Choosing’. Written shortly after her father passed away, it offers a poignant reflection on moving and feeling unsettled; a plea for some stability. As a dark ethereal splendour shimmers alongside its lilting folk-strewn musicality, the heartfelt grace and twinkling delicate emotion of Ailsa’s celestial vocals shines throughout. A truly beautiful new offering, that I’m pleased to say is being shared with the world at a time when Ailsa is feeling more settled and has found somewhere – with someone she loves – that she feels able to call home. (ML)

Madison Cunningham – ‘My Full Name’
Ahead of the release of her new album next month, LA songwriter Madison Cunningham has shared ‘My Full Name’. A vulnerable reflection on heartbreak and loss, her sweeping crystalline vocals float alongside twinkling keys with a soaring delicate emotion. Ace, the upcoming album from Madison Cunningham, is set for release on 10th October. (ML)

Hand Habits – ‘Bluebird Of Happiness’
Having recently released their poignant new album, Meg Duffy – aka Hand Habits’ – latest single ‘Bluebird Of Happiness’ interweaves their distinctive rich vocals with fuzzy layers of sound amidst a shimmering subtle optimism. Of the track, they comment: “One day my partner asked what birdsong we were hearing through the window and I was like, ‘well that’s the bluebird of happiness obviously,’ and it became a joke song I would sing around the house, but then it grew wings… I also got curious about the history of the bluebird of happiness, and found that it has mythological significance.” Blue Reminder, the new album from Hand Habits, is out now via Fat Possum. (ML)

Kate Stables, Jesca Hoop, Lail Arad – ‘Raised On Robbery’
Having been lucky enough to attend a special Songs Of Joni Mitchell event at The Roundhouse last year, I was excited to hear that organiser Lail Arad, along with fellow artists Kate Stables (This Is The Kit) and Jesca Hoop, are set to release an EP of Joni covers this week to accompany their tour this autumn, continuing their heartwarming ode to the music of one of the world’s most inspirational artists. As a life-long fan of Joni, and a many-years-fan of these three artists, it’s such a joy to hear them celebrating her work, and creating their own sparkling renditions of some of my most favourite songs. They will be playing Shepherd’s Bush Empire on 13th November, along with a big run of UK dates throughout the autumn. The Songs Of Joni Mitchell Vol 1, the upcoming EP, is out on Friday 12th September. (ML)

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INTERVIEW: Lisa Meyer (Supersonic Festival)

(Photo: Lisa Meyer)

Championing alternative music and celebrating experimental art-forms is the lifeblood of Birmingham’s Supersonic Festival. Founded in 2003, the multi-venue event has become renowned for showcasing a unique array of musical and artistic talent from heavy and alternative genres. Get In Her Ears were lucky enough to attend the festival for the first time in 2024, where we saw Gazelle Twin, THE NONE, Emma Ruth Rundle, Tristwch Y Fenywod and many more (read our highlights feature here.)

The line-up for this year’s edition of Supersonic – which runs from 29th-31st of August – is equally as impressive. GIHE favourite Penelope Trappes brings her stunning album A Requiem to the festival for the first time. Aussie instrumental-doom project Divide and Dissolve will return to pulverize eardrums with their gargantuan-yet-graceful noises and inimitable Zambian-Canadian rapper BACKXWASH will also return to share her corrosive beats and scathing lyrics with festival goers.

“I think of heaviness not necessarily as an amplification, but as music that is reflective of our world that we’re living in, and we’re living in really heavy times,” shares Artistic Director Lisa Meyer, deftly articulating why Supersonic Festival resonates so strongly with its loyal attendees. She is the creative force leading the dedicated team who have been curating this eclectic event for over twenty years. As the CEO of Capsule and the founder of the Home Of Metal project too, Lisa has dedicated her life to following and championing alternative culture.

“I think because we’re in Birmingham; the DNA of Birmingham is Black Sabbath, Godflesh and Napalm Death, but [Supersonic] is not, as I would call it, a ‘dude fest’ or a straight-forward metal fest,” she explains. “It’s about exploring heaviness across genres. There is a darkness to a lot of folk or electronic music and sometimes the most gentle, beautiful music has a sadness and a heaviness [to it],” she continues, citing Irish experimental doom-folk band ØXN as a great example. “There are heavy drones within their music, but Radie Peat’s voice cuts through you in a way that I think is as full-on as a metal band. It’s more about the feeling that [the music] creates within you.”

This emotional connection is something we were struck by at our first experience of Supersonic in 2024. It made us want to dig deeper and find out what goes on behind the scenes in order to bring this eclectic community-based festival to life. When we speak to Lisa over Zoom, it’s just three weeks until the next edition of Supersonic. Despite mentioning several setbacks throughout our conversation (which we’ll get into in more detail later), Lisa’s aura is equally as calm as it is enthusiastic. She clearly relishes talking about artists, past and present, who have shaped her personal tastes and who ultimately lead her to start Supersonic.

Originally from London where she felt “spoiled” in terms of her exposure to alternative music and culture, Lisa moved to Birmingham in 1994 to gain independence and to study a fine art degree. As a young teen, she says she frequented the weekly Feet First indie club night at the Camden Palace (now KOKO), which she considers to be her “grounding” for getting into music. “Looking back on it, it was probably dodgy as hell,” she smiles, “but I was 14 and me and my friend Lisa – we were called ‘The Two Lisas’ – got to see so many live indie bands; from Doctor and The Medics through to Lawn Mower Death and Meat Beat Manifesto.”

Lisa also recalls her parents playing Black Sabbath and Jethro Toll on the stereo on car journeys as a child, hearing the Songs of Leonard Cohen and The Velvet Underground around the house, and obsessively playing the 7” vinyl of Kate Bush’s iconic ‘80s hit ‘Babooshka’ from her Dad’s record collection. She also cites the Pixies, The Cure and Sisters of Mercy as big influences during her teens. This exposure to so many varied and contrasting musical genres seems to have been the catalyst for everything that she did next.

When she moved to the midlands, she remembers being “shocked” at the lack of cultural spaces in Birmingham compared to London, where she had constant access to gigs and art exhibitions. “But when there isn’t anything there, you [can] create from nothing,” she adds wisely. “It’s the perfect environment to create something yourself.” She began frequenting DIY punk all-dayers in places like Bradford, Leeds and Nottingham, before she started hosting gigs herself in the basement of the student house that she shared with 11 other people. “It sounds glamorous, but it was a very rundown house, and because of that, it gave us absolute freedom,” she comments. She quickly gained a solid reputation in the DIY scene for being a great promoter; always paying bands fairly and making sure they were fed and looked after, something she states was a rarity on the local scene at the time.

From these early experiences, Lisa gained the essential knowledge which led her to start up her own official arts organisation. In 1999, alongside friend Jenny Moore, she co-founded Capsule, a platform dedicated to producing events and exhibitions for curious audiences in Birmingham. As well as championing new and exciting alternative art, Capsule serves a more personal purpose for Lisa. “Although I’d studied fine art, my passion was music and being a music fan, but I was also incredibly, painfully shy,” she reveals. “I wasn’t someone that stood at the front of a gig or wrote a zine. I didn’t feel like I had a voice particularly. I think putting on gigs gives you a purpose. It gives you a reason to be sociable, but kind of on your own terms.”

This new found confidence, combined with an eye-opening trip to Barcelona’s Sonar Festival in 2001, laid the foundations for Supersonic. “I was absolutely blown away by the fact that the festival happened at the MACBA, which is the Museum of Contemporary Art in Barcelona,” she recalls about the galvanizing live music experience. “At that time, Jenny was doing a photography degree and I had done a fine art degree, so we wanted to bring together that sort of visual aesthetic [too]”. Seeing UK experimental-noise artist V/Vm (aka Leyland James Kirby) play inside a beautiful Gothic church seemed to blend these two things together for Lisa.

“V/Vm were dressed as a chicken and a love heart. They had those big Spanish hams and they were on turntables with cabbages and meat juice was flying out into the audience,” she shares. Fast forward two years later to 2003, and Lisa and Jenny had booked V/Vm to play the first ever Supersonic Festival at The Custard Factory in Digbeth, alongside Coil, Pram, The Bug with The Warrior Queen, LCD Soundsystem and metal bands from the local scene.

“It was a really eclectic mix and I guess at that time, no one else was really doing that,” Lisa comments. She acknowledges that festival line-ups were generally geared towards a single genre, and that the electronic music scene in particular felt inaccessible to lots of fans. “It was very boy-sy…you had to be an ‘expert’ to be into electronic music at that time, it just felt really hostile,” she shares. Lisa wanted to create a “welcoming space” with no rigid genre barriers and no gate-keeping – something that GIHE felt was one of the most impressive and coherent elements of last year’s Supersonic festival.

Creating and sustaining something as original as Supersonic has been equally as life-affirming as it has been challenging for Lisa, for numerous reasons. In 2012, her creative business partner Jenny took a step back from Capsule and Supersonic in order to focus on her young family, which was an eye-opening experience for Lisa, who became the sole Director, Artistic Director and CEO. “I think because we ran it together, we were almost oblivious to risk, because we had each other, so we just made stuff happen,” she shares. “Jenny was absolutely brilliant at fundraising and the budgets and as I used to call it ‘the adult stuff’. So suddenly, I had to inherit this weight of responsibility and it was also at a time when the Arts Council really didn’t understand the value of experimental music or adventurous music.”

Lisa explains that Supersonic received “tremendous pushback” from Arts Council England in the early days of applying for funding. She tried to make it clear in her applications that at its core, Supersonic was about supporting an ecosystem that was not too dissimilar to theatre. Theatre brings in ticket income, but this is subsidised to support the production and the making of it – whether that’s a West End musical or an obscure performance piece. She had to lobby hard to make sure that the festival was not misinterpreted as a purely commercial venture.

“I started to understand the role I can play in terms of supporting more emergent artists and making sure that the line-up is diverse,” Lisa extrapolates. “I think in the early days, just making the thing happen was an act of resistance. Being two young women in that male-dominated field was enough of a thing. Whereas now, I wouldn’t say we’re in a comfortable position, but there’s an inner confidence to be able to kind of make sure that that’s part of our mission and our goal with Supersonic.”

This year’s edition of the festival continues that vital mission. Between BACKXWASH, Divide and Dissolve, Zahra Haji Fath Ali Tehrani, BUÑUEL and Penelope Trappes (to name just a few), Supersonic’s line-up seamlessly sets an exciting and necessary precedent for diversity in all its forms. Lisa has always been meticulous with her curation though, and this is something that’s developed over time. “Because we’re really limited in our budgets, that makes me have to be extremely creative and really careful in terms of who I’m programming, so there’s no filler and it means that everyone’s there for a reason,” she shares. “There’s an un-said relationship between each artist and the journey that I’m trying to create within a day or over the weekend.”

Despite this dedication and attention to detail, Lisa confesses that she is not immune to imposter syndrome. She has always felt that her relationship to music has been based on gut feeling, obsessive listening and intuition, rather than technicalities like being an “expert” producer or a music-maker herself. When asked if she has ever seriously considered giving up Capsule and Supersonic because of this, she humbly replies that despite the numerous sleepless nights, it doesn’t really feel like a “job” to her – it’s more of a calling.

“I think probably now I’m unemployable,” she laughs. “I’ve done this for 20+ years, I don’t know anything different. When it actually comes together and you have that weekend where there’s that sense of community and you’ve been able to create a sort of critical mass for relatively unknown artists, and your audience feels part of something that feels really important, like we’re part of this global community – that spurs us on for the next year.”

It’s not just imposter syndrome that Lisa has had to battle. In recent years, the gentrification of the Digbeth area where Supersonic is held has caused her immense stress. In the inaugural days of the festival, Lisa remembers Digbeth feeling a bit like the “Wild West” as it had minimal infrastructure in terms of proper street lighting or cash points. This allowed her and her team to build their own infrastructures within the warehouse spaces they rented and to create the “blueprint” for Supersonic, but it’s a different story today.

“As the years have gone on, developers have come in and taken those spaces, and developers are not supportive of culture, especially outsider or counterculture,” she comments. Lisa has had to compromise to keep Supersonic alive. In 2024, for the first time ever, they had to switch to using a commercial venue – The O2 Institute – due to developers making it too difficult to use their original, formerly independent space. This year, Lisa has shared the news that Supersonic’s Marketplace – the festival’s hub for food, selling records, socialising and DJ sets – will have to relocate to Zellig Building for similar reasons.

These changes are not just inconvenient logistically, they incur costs that Lisa is desperately trying not to pass on to the festival’s loyal attendees, but this is becoming increasingly difficult. “Supersonic is meant to be a celebration of the underground, but if it’s too expensive, people can’t attend,” she states, but she is battling hard to make sure this doesn’t happen. “We have started a solidarity ticket scheme where people who can afford to pay a bit more, buy a more expensive ticket and that means that we can work with partners like O121 Queercore and Decolonise Fest to do massively subsidised tickets to their networks. So we’re trying, but it sort of feels now like Supersonic happens against all odds, which is quite exhausting. I’d say this year, I’ve never known it as hard as ever before, in every element of putting a festival together. It feels like this year may well be the nail in the coffin of it being in Birmingham,” Lisa sighs, “unless something really radically changes in terms of whether the council starts to intervene in some way.”

Lisa’s determination in the face of such adversity isn’t just admirable – it’s vital. She has invested time and money creating a platform where artists and fans feel truly valued, and in today’s climate of grassroots music venues closing on a fortnightly basis according to The Music Venue Trust, that cannot be underestimated. She has spent time nurturing authentic relationships with the artists who play Supersonic, leading them to not only return to play, but to also become fans of the festival themselves.

“Last year, we had Bonnie Prince Billy headlining, but he came because he was interested in seeing ØXN and Robert Aiki Aubrey Lowe,” Lisa shares. “This year, we’ve got Poor Creature performing, who is Cormac from Lankum [who played last year], and Ian Lynch and Maxine Peake are coming back to DJ too. They want to come as punters, which is really lovely. We’ve built up relationships with people like Stuart Braithwaite (Mogwai) and Elizabeth Bernholz (Gazelle Twin) over the years, so they feel that if they’ve got a new project, Supersonic’s the place for them to try that out, which is great.”

Connecting curious minds and cultivating pure, primal connection to music is what the festival is all about. Unfortunately, we can’t attend Supersonic this year, but we urge you to buy a ticket and immerse yourself in all of the weird and wonderful creations that the festival has to offer. You won’t be disappointed.

Photo Credit: Cat Dineley

Kate Crudgington
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Kate CrudgingtonLeave a comment

LISTEN: GIHE on Soho Radio with The Dead Zoo (26.06.25)

Tash, Kate and Mari were live in the Soho Radio studio once again, bringing listeners an eclectic mix of new music tunes from some of their favourite female, non-binary and LGBTQIA+ artists.

They reflected on their time at The Great Escape Festival curating their GIHE showcase on The Beach Soundwaves Stage (featuring Scrounge, Comic Sans, Rubie, Maria Uzor and afromerm), and The Dead Zoo vocalist Kaoru joined the team in the studio to talk about the post-punk band’s upcoming debut album, Suspects, which is set for release on 25th July.

Kaoru also shared her own experiences of being a trans woman and how this has inspired the music that she writes with her band and she shared her anticipations for The Dead Zoo’s upcoming headline gig with GIHE at New River Studios on Friday 4th July – tickets are on DICE now!

Listen back to the show below:

 

We’ll be back on Soho Radio on Thursday 24th July from 4-6pm (GMT)
 Make sure you tune in via DAB or listen at www.sohoradiolondon.com

Tracklist
GOSSIP – Standing In The Way Of Control
ANOHNI – It Must Change
HAAi, Jon Hopkins, Obi Franky, ILÁ, Trans Voices – Satellite
Saya Gray – ..Thus Is Why (I Don’t Spring 4 Love)
**The Great Escape audio highlights reel & interview clip with afromerm**
Whitelands – Heat Of The Summer
Maria Somerville – Spring
Ailsa Tully – Self Soothing
Jacob Alon – Fairy In A Bottle
Smerz – You Got Time and I Got Money
Nastazia Bazil – Call Me Habibi
Jasmine 4.t – Elephant
The Dead Zoo – Bruise
**Interview with Kaoru from The Dead Zoo**
iri – harunone
Cole Pulice – In A Hidden Nook Between Worlds III (Tash’s Track Of The Show)
Lōwli – Ground Above You (Kate’s Track Of The Show)
CATBEAR – Who Cares (Mari’s Track Of The Show)
Junk Whale – Grief Song
Strange New Places – Lonely Today
Craven – The Humpback Whale
The New Eves – Cow Song
Errunhrd – Don’t Drink Chemicals
Twin Rains – Magic Mountain
Midwife – Signs
Yeah Yeah Yeahs – Maps
Jackie Shane – Any Other Way

Kate CrudgingtonLeave a comment

PLAYLIST: May 2025

We know our May playlist is a little delayed…(we were at The Great Escape Festival hosting our showcase on The Beach Soundwaves Stage!) but it’s still stacked full of new music from some of our favourite female, LGBTQ+ and non-binary artists.

We’ve put together another eclectic mix of indie musings, alt-folk tunes, punk bangers, immersive electronic sounds and some grunge & shoegaze anthems for your listening pleasure. Take some time to scroll through our selections below and make sure you press play on the playlist at the end of this post.

Follow GIHE on Spotify to see all of our previous playlists too. As well as streaming these tunes, we encourage you to follow the artists we’ve featured on social media, sign up to their mailing lists, go to their gigs and buy their records from bandcamp if you’re able to.

 

Jasmine.4.t – ‘Elephant’
I’ve made no secret of my love of Jasmine.4.t over the last year or so, and it was so wonderful to see her live for the second time, playing an exquisite set to a sold out Lexington last week. Following the success of her debut album, You Are The Morning, a jam-packed UK tour and a tour supporting Lucy Dacus across the US, the Manchester-based artist has now shared a special acoustic EP to raise money for AKT, a charity supporting young LGBTQIA+ people through housing emergencies.

Having been homeless and sleeping on the floors and sofas of queer friends herself when she wrote her album, it’s an organisation close to her heart: “The people who supported me during that time became my family and the muses for my album. This is such a beautiful full circle moment for me, to be in the privileged position of being able to pay that debt forward. Thank you all so much for your support. I love you.”

The EP features beautifully stripped back versions of three songs from her album, showcasing the heartfelt raw emotion and vulnerability that went into writing them: “We were originally gonna use the actual demos that got me signed by Phoebe, but my voice has changed a lot since then and I wanted to redo them, but in exactly the same way: with two vocal tracks and two guitar tracks, recorded in my bedroom on tape. You Are The Morning is an album about queer love and hope and solidarity, and so I wanted to share these tracks in that spirit.” Listen to the EP and donate on bandcamp now.
(Mari Lane – Managing Editor)

Ghostwoman – ‘Alive’
Set to release their new album in September, Belgium/Canada based duo Evan Uschenko and Ille van Dessel aka Ghostwoman have shared this anthemic new single. Propelled by Uschenko’s fuzzy hooks which he played on a 12 string guitar, along with van Dessel’s fierce caustic beats, it offers an impassioned ode to continuing to find joy in the art of creation in spite of the dark times we’re living in. Welcome To The Civilized World, the upcoming album from Ghostwoman, is set for release on 5th September via Full Time Hobby. (ML)

Slung – ‘Limassol’
Congratulations to Brighton rockers Slung on the release of their excellent debut album, In Ways. Released via Fat Dracula, the record showcases the band’s instinctive ability to blend raging riffs, powerhouse percussion and compelling vocals into songs about inequality, generational trauma and ruminations on what could have been. This track ‘Limassol’ is a shining example of the latter, inspired by fading memories of lost love. Check out the accompanying video here. (Kate Crudgington – Features Editor)

Anna Younger – ‘Girl Guts’
This is the latest single from Scottish independent musician Anna Younger and it simmers with relatable angst. Her grungy guitars and potent vocals combine to create a foreboding soundscape, as she uses the lyrical metaphor of fruit “to explore the challenges, transitions and pain of the female existence.” (KC)

M(h)aol – ‘I Miss My Dog’
I’ve been following Irish post-punks M(h)aol since they released their powerful single ‘Laundries’ back in 2020. Their lineup has changed and their sound has developed significantly since then, which has culminated in the trio’s excellent new album, Something Soft. ‘I Miss My Dog’ is lifted from the record, released via Merge Records & TULLE. It’s an ode to drummer & vocalist Constance Keane’s late canine companion Poppy, who passed away in July 2024. (KC)

Problem Patterns ft. Matt Korvette (Pissed Jeans) – ‘Sad Old Woman’
Everyone here at GIHE loves Belfast DIY punks Problem Patterns, so it’s no surprise that we’re including their latest anthem on our playlist! Featuring vocals from Pissed Jeans’ vocalist Matt Korvette, ‘Sad Old Woman’ is the band’s riotous new effort that tackles ageist & sexist stereotypes and encourages listeners to dismiss these damaging anti-ageing narratives. The track is accompanied by a music video too, which you can watch here. We can’t wait to have Problem Patterns headline for us again at our GIHE 10th Birthday All-Dayer gig at The Cavendish Arms on Saturday 27th September. There are only a few tickets left – grab yours here! (KC)

Fortitude Valley – ‘Sunshine State’
Set to release their new album this summer, Fortitude Valley have been big faves of mine since their 2021 debut, and they continue to charm my ears with their glistening new single. Complete with jangly guitars and heartfelt sugar-sweet vocals, ‘Sunshine State’ offers a sparkling reflection on the mixed feelings of front person Laura Kovic’s about leaving her home country of Australia – interweaving a nostalgic sentimentality with a driving punk-pop energy. Of the track, she explains: “I was so keen to get away! From such a beautiful place! So the song is like: I’m going back to the Sunshine State to find my younger, more melodramatic self and catch-up with her.” Part Of The Problem, Baby, the upcoming new album from Fortitude Valley, is out 1st August via Specialist Subject Records. (ML)

Rival Queens – ‘Right Now’
Following her riotous, grunge-infused debut ‘Not Your Enemy’ and the more heartfelt ‘Sun Don’t Shine’, esteemed session guitarist and songwriter Sally-Anne Hickman aka Rival Queens has now shared a sparkling new single. Reflecting on feelings of burnout and workplace apathy, ‘Right Now’ oozes shades of the sparkling indie-pop of bands such as Best Coast as its swirling musicality and shimmering singalong refrains offer an insight into Sally-Anne’s ability to create heartfelt instant earworms of any genre. (ML)

Junk Whale – ‘Grief Song’
Over the last couple of weeks since the new self-released EP from Junk Whale came out, I’ve been pretty much listening to it 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 expand: “Lyrically, this might be our darkest release yet, written under the cloud of lockdown malaise and personal setbacks. But musically, it’s probably our most upbeat and energetic.” (ML)

Strange New Places – ‘Sleep For Dinner’
The third in a series of singles released ahead of their new album, ‘Sleep For Dinner’ is the latest offering from Belfast’s Strange New Places. Juxtaposing reflections on feelings of fatigue and depression with an uptempo scuzzy energy, and the band’s trademark fiercely impassioned emotion, they’re keen for us to keep in mind that – despite its resonant subject matter, “…the track is also funny and a bop.” Another instant fave from this queer, neurodiverse band of “right on radicals with low self-esteem.” (ML)

Maya Lakhani – ‘Fall For Me’
Someone who’s wowed us with her energy-fuelled live shows on more than one occasion, and with acclaim from the likes of Radio 1’s Jodie Bryant and BBC Introducing Melita Dennett, rising star Maya Lakhani is a firm fave here at GIHE. Inspired by ‘00s teen movie prom scenes, latest single ‘Fall For Me’ flows with a soaring shimmering emotion, as jangling hooks provide the backdrop for Lakhani’s rich vocals, creating a heartfelt alt-rock anthem. (ML)

ettie – ‘The Song I Scream In The Shower’
The new single from queer pop-punk artist ettie, ‘The Song I Scream In The Shower’ offers a perfect nostalgia-tinged ‘revenge-bop’. Propelled by a fierce fun-filled energy and catchy angst-driven refrains, it reflects on the “age-old coping mechanism of getting all your feelings out in the shower.” I can’t wait to hear more catchy anthems from ettie! (ML)

Catbear – ‘Who Cares?’
Having been part of the dreamiest of weekends with us last month, supporting Roller Derby at two consecutive sold out shows in London and Brighton, Brighton-based duo CATBEAR have now shared a catchy new single. Propelled by an uplifting fizzing energy and fierce driving beats, a raw emotion shines through the lush vocals, offering a glistening slice of empowering electro-pop; a shimmering ode to the draining emotions that come with social anxiety (a sentiment I can very much relate to!). Of the track, singer/guitarist Zoe explains: “The song sounds upbeat, but underneath it’s me trying to stay grounded – reminding myself it’s okay to show up, be a bit awkward, and not care so much what anyone thinks.” ‘Who Cares’ will feature on Catbear’s upcoming second album, due for release later this year. (ML)

Beauty Sleep – ‘Radical Happiness’
Recently signed to Alcopop! Records with the announcement of the upcoming release of their second album, Derry faves Beauty Sleep have now shared a colourful new single to celebrate. Fizzing with a glitchy energy and swirling uplifting emotion, album “theme song” ‘Radical Happiness’ offers a twinkling, empowering ode to self care and embracing doing things that bring you joy. Of the inspiration behind the track, the duo explain: “Our mental health was so low and we were such people pleasers to a fault that prioritising our emotions and desires felt radical. So we embarked on figuring out how to find Radical Happiness by living it—we did all the things we thought we weren’t good enough for, things we thought we would do ‘when we were successful,’ or ‘when we had more money,’ or when the perfect conditions were just so…” The Whole Damn Cake, the upcoming second album from Beauty Sleep, is set for release in October this year. (ML)

ZAND – ‘TOES!’
I’ve been following the well deserved rise of “sewerstar” ZAND since we interviewed them on our GIHE radio show back in 2020 (listen back here) – so I was chuffed to see this gritty single ‘TOES!’ in my inbox. It’s their first piece of new music since November 2024, equally as inspired by Eminem as it is Nine Inch Nails. ZAND is currently working on their debut album, which I can’t wait to hear in full. (KC)

Twin Rains – ‘The Evil That You Know (Let It Go)’
Toronto dream-pop duo Twin Rains released one of my favourite tracks of 2023 (‘You’re The Only One’) so I was thrilled to see an email from the band (buried in my GIHE inbox) sharing new music with me! Described as “My Bloody Valentine meets Oasis in the dystopian present” this new track ‘The Evil That You Know (Let It Go)’ is full of their trademark intoxicating riffs, dreamy vocals and driving beats. (KC)

Errunhrd – ‘Don’t Drink Chemicals’
Canadian songwriter and producer Shirin Ghoujalou aka Errunhrd has shifted from dream-pop to dark electronica on her latest album, Everything I’ve Ever Known, and I am here for it! This change in musical direction was inspired by a need to explore parts of her psyche that she had previously ignored, experimenting with MIDI string orchestration, vocoders, granular synthesis and syncopated melodies to help her carve a path towards self-love and acceptance. (KC)

Venus In Noise – ‘In The Sun’
A jagged ray of sonic sunshine from London-based duo Venus In Noise here! This new single is full of the pair’s trademark dark electronics and infectious rhythms, which they’ve been sharing with crowds through their live performances – including a show at East London’s Sebright Arms – earlier this month. (KC)

Elaine Mai ft. Faye O’Rourke – ‘AIM’
Irish electronic artist Elaine Mai is gearing up to release her second album, For Us, on 19th September. This collaborative track ‘AIM’ – featuring Soda Blonde vocalist Faye O’Rourke – is an exciting taste of what we can expect from the talented producer. Inspired by “generational trauma and its lingering effects,” O’Rourke’s heartfelt vocals soar above Mai’s potent dance beats and shape-shifting electronics, showcasing her instinct for crafting melodic and surprisingly emotive dance anthems. (KC)

Nastazia Bazil – ‘Call Me Habibi’
Having released her debut album this week, Lebanese artist Nastazia Bazil never believed that she would be able be able to play music that other people would want to hear, but since forming a band at First Timers Fest a few years back she has been proved wrong; a familiar face on the London DIY live circuit, she has been frequently charming audiences across the city with their unique, immersive sounds. Taken from the album, ‘Call Me Habibi’ offers a truly stirring anthem, reflecting on feelings of being torn – knowing that she can’t move back to Lebanon due to political unrest, but feeling homesick and missing simple things such as her mum’s cooking. From Beirut To Anywhere, the debut album from Nastazia Bazil, is out now. Listen/download on bandcamp. (ML)

Lōwli – ‘Ground Above You’
“‘Ground Above You’ explores feeling lost in your sense of self, while struggling to find purpose and understanding in an often unsettling and disjointed world,” explains Irish composer and songwriter Lōwli about her latest single. A beguiling blend of lilting keys, disarming vocals and ethereal string sounds, the track beautifully showcases Lōwli’s ability to transport listeners to another realm – making her one of my favourite new music discoveries this year. (KC)

Maria Somerville – ‘Spring’
Lifted from her captivating new album, Luster, this lush track by Irish musician Maria Somerville is a tonic for tired ears. Released via 4AD, Somerville’s latest full length was written and recorded in Connemara in the artist’s home county of Galway. Energised by the fondness and familiarity of her surroundings, she created twelve tracks that shimmer with sensitivity and a serene sense of self-confidence, with this single ‘Spring’ being a perfect example of both. (KC)

The New Eves – ‘Rivers Run Red’
Team GIHE caught Brighton four-piece The New Eves live for the first time at The Great Escape Festival in May, and we were captivated by their incendiary blend of classical instrumentation and punk spirit. This track features on their debut album, The New Eve Is Rising, set for release on 1st August via Transgressive Records. ‘Rivers Run Red’ is an amalgamation of the band’s beginnings – from guitarist/violinist Violet pouring blood on to herself during early performances, to drummer, flutist & vocalist Ella’s heartfelt teenage poetry – showcasing the power and originality of the ensemble’s musical vision. We’ll definitely be at their London show at Hoxton Hall on 7th October. (KC)

Nadah El Shazly – ‘Laini Tani’
Egyptian, Montreal-based producer, vocalist, composer and actor Nadah El Shazly has released her highly anticipated second album, showcasing her immersive, genre-defying sounds and ability to fuse traditional Arabic influences with a more avant-garde improvisational instrumentation. Title track ‘Laini Tani’ offers a mesmerising insight into the sounds El Shazly is able to create; flowing with a delicate, twinkling musicality, it builds with a subtle soaring power and glitchy energy into a truly spellbinding ballad. Laini Tani, the new album from Nadah El Shazly, is out now via One Little Independent Records. (ML)

Lightheaded – ‘The View From Your Room’
Formed back in 2017, New Jersey’s Lightheaded are set to release their second album later this month, and to celebrate, they’ve shared this shimmering new single. ‘The View From Your Room’ ripples with a cinematic musicality and lilting energy, as gorgeous sunny vibes emanate with shades of the likes of indie-pop faves Camera Obscura or Best Coast.
Thinking, Dreaming, Scheming, the upcoming new album from Lightheaded, is out on 27th June via Skep Wax. (ML)

Ailsa Tully – ‘Self Soothing’
The first single taken from her upcoming debut album, ‘Self Soothing’ offers a welcome return from Welsh artist and GIHE fave Ailsa Tully. Offering a vulnerable sentimentality, a delicate musicality glistens as Tully’s distinctive crystalline vocals flow seamlessly with a stirring raw emotion throughout. With its added immersive synth-driven layers and subtle sense of angst that ripples under its surface, a gritty edge is added to this innovative artist’s trademark heartfelt splendour. (ML)

Rats-Tails – ‘Public Domain’
Having blown us away with their unique eclectic sounds and immersive energy playing for us last year at The Shacklewell Arms, South East London faves Rats-Tails have now released their first single of 2025. Flowing with a lilting folk-strewn musicality and mystical allure, ‘Public Domain’ reflects on feelings of burn-out, the intrusive thoughts that accompany it and the tension between art and commodification. As front-person Courtney McMahon’s ethereal vocals shimmer throughout, a dreamily psychedelic soundscape is created, cementing Rats-Tails as an innovative band impossible to pigeon hole into any one genre. (ML)

Kate Nash – ‘Germ’
Amidst all the terrifying regression of policies and ridiculous attempts by those in power to curtail the rights of trans folk, being an ally is more important than ever before. So, it’s been great to hear Kate Nash use her platform to spread the word and speak out against so-called feminists who are set on excluding trans women from public spaces and inciting fear and hatred with new single ‘GERM’. With its direct lyricism taking aim at these ‘Exclusionary Regressive Misogynists’, Nash explains: “I am left uneasy as I see behaviours we would otherwise or previously label as intolerance or bullying become normalised & even celebrated by the media & in society. Dismantling systems of oppression lies at the very core of feminism. If you are transphobic, therefore, you are not a feminist. Welcome to your rebrand, GERM.” Just to clarify, as Nash states in the song, “I’ve never felt threatened by a trans person” and will continue to stand by my trans siblings today and every day. Watch the full lyric video here. (ML)

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