LIVE (Photos): Grace Petrie – Islington Assembly Hall, 14.03.24

Having last seen Grace Petrie live at local venue Stanley Arts back in 2021, and spoken to her earlier that year, it was great to get the opportunity to see her again – this time with a full live band at Islington Assembly Hall, and oozing even more understated, yet strident, empowering charm than ever before. A truly wonderful and unifying evening, celebrating the release of her new album, Build Something Better (and in anticipation of its exciting top 30 chart position the following day), it was a real pleasure to experience her poignant, politically-charged anthems amongst a filled venue of like-minded individuals. With her lilting folk-strewn musicality elevated and energised with the addition of Robin Gatt on lead guitar, Francesca Knowles on drums, Jasmine Kennedy on bass and Amy Thatcher on accordion, as well as her constant comrade Ben Moss on fiddle, it felt like a particularly special evening; whilst not holding back with addressing issues of urgency with a fierce spirit, Petrie was able to create an atmosphere of joyous warmth and solidarity. Resonant, necessary messages delivered with an infectious energy, inciting us to unite and fight against the forces that seek to oppress us. 

As well as being lucky enough to immerse ourselves in Grace’s live set, we were able to have a quick chat about the new album and tour, see our photos from the night, and snippets from the interview below.

“Build Something Better is probably my most political record for a long while. It was inspired by the general sense of dissatisfaction in modern day Britain, especially the nationalistic undertones that the government are utilising to try and distract from the many ways that people are increasingly unhappy and dissatisfied with living standards here. And that just kind of inspired a lot of angry, political songs.”

“Writing the album, I was very inspired by different folk-rock albums, like Bruce Springsteen’s Wrecking Ball, The Decemberists, and an Australian band called The Maes that I’ve been listening to a lot recently.”

“I’ve been having an amazing time touring it, this is my first time playing with this line-up, and it’s just been absolutely amazing. I couldn’t ask for a better band to lift these songs to an amazing new live level that I’ve never been able to access before. I’ve just been having a really great time!”

GIHE alumni Gabi Garbutt also delivered a really beautiful set as support, before Molly Naylor treated us to her witty and relatable poetry.

Build Something Better, the new album from Grace Petrie, is out now via The Robot Needs Home Collective. And Grace will be heading out to Australia this week for a couple of live dates, before heading back there in May for the Guilty Feminist tour. More info here.

Photo Credit: Paul Dawes / @GRNDglass

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PLAYLIST: February 2024

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

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

Whitelands – ‘Cheer’
GIHE fave London shoegazers Whitelands came into the Soho Radio studio earlier this month to chat to us about their debut album, Night-bound Eyes Are Blind To The Day, and I have been listening to the record on a loop since its release. I saw them live supporting Slowdive at Hammersmith Apollo, and it was wonderful to hear their magnetic sounds ring out around the walls of such a prestigious venue. The GIHE team are so excited to see them again at their London album launch gig at Rough Trade on 5th March.
(Features Editor -Kate Crudgington)

Hypsoline – ‘Disposable Girl’
Firm favourites who we’ve been lucky enough to have play for us a couple of times now, Brighton’s Hypsoline have now shared new single ‘Disposable Girl’. Written from the viewpoint of a heartbroken teenage girl, the track oozes the band’s scuzzy power and versatility of front person Trilby’s rich vocals. Building with a hazy allure, it showcases the band’s ability to create instantly catchy rock anthems, and I can’t wait to hear more from them this year. (Managing Editor – Mari Lane)

HAVVK – ‘Take It From Me’
We’re extremely excited to have Irish trio HAVVK return to play live for us at our next gig on 28th March at Shacklewell Arms. Having headlined the first ever gig we hosted back in 2016, it feels pretty special to be hosting them again, and – with support from lovely bands like Athabaska and Rats-Tails – it promises to be a dreamy night! This latest single showcases all the gritty, grunge-fuelled energy and celestial splendour we’ve come to know and love from the band. To Fall Asleep, the new album from HAVVK, is set for release on 15th March. Come and celebrate its release with us at The Shacklewell Arms! Tickets here. (ML)

Projector – ‘Don’t Give Anything Up For Love’
Congratulations to Brighton trio Projector on the release of their debut album, Now When We Talk It’s Violence. Unsurprisingly, it’s a superb record that showcases the band’s evolution in sound, full of grinding riffs, intense vocals and propulsive beats. This is my favourite track from the record. (KC)

Wisp – ‘Once Then We’ll Be Free’
19 year-old San Francisco-based musician Wisp has been on my radar for a while now. I’ve been soaking up her lush shoegaze sounds, and this single ‘Once Then We’ll Be Free’ is another potent blend of her hushed vocals, swirling riffs and driving beats. (KC)

Nightbus – ‘Average Boy’
Released via So Young Records, ‘Average Boy’ is the dreamy new release from Northern trio Nightbus. Speaking about the track, the band explain: “‘Average Boy’ is a narrative I’m sure many of us can relate to. The feeling of inadequacy, dysphoria, a longing for something that might never materialise. Those small moments that feel like destiny are reduced to bittersweet memories. We all search for something, we get caught in cycles, we lose our way, half the time we don’t even know what we’re looking for. Gender, perspective, culture, we are all in some way the average boy.” (KC)

Brimheim – ‘Normies’
I’m a big fan of Danish-Faroese artist Brimheim, and this single has been swirling around my head all month. Taken from her upcoming second album, RATKING, which is set for release on 22nd March, her new record explores shame, self-deception and tragic love. I adored her debut album, can’t hate myself into a different shape, and think her new offering will be equally as excellent. She’ll be playing The Lexington on Weds 22nd May. (KC)

Baby In Vain – ‘Afterlife’
This is the title track from Danish trio and longtime GIHE favourites Baby In Vain’s latest album. The record showcases a softer, more shoegazey approach to the band’s songwriting, compared to earlier heavier releases, but it still retains the slow-burning tenderness that makes all of their music so compelling. (KC)

total tommy – ‘microdose’
This is the debut single from Australian songwriter total tommy, who has recently singed to [PIAS] Recordings. A lovely hit of lo-fi indie-grunge, ‘microdose’ was written in total tommy’s bedroom studio in Sydney on a stormy night, and reflects on an addictive, all-consuming crush. (KC)

Tusks – ‘Strangers’
Another affecting, evocative offering from London-based electronic artist Tusks here. ‘Strangers’ is lifted from her upcoming album, Gold, which is set for release on 12th April via One Little Independent Records. She will be playing at Rough Trade East on 13th April to celebrate the release of the album. (KC)

Tolü Makay – ‘Mind & Body’
Nigerian-Irish artist Tolü Makay has returned with this wonderful new single about the importance of being present in the moment, with her emotive voice guiding listeners through this process. Speaking about the track, Tolü explains: “’Mind & Body’ explores the anxiety we feel when our body is numb to the moment while our mind is drowning in senses, screaming for us to be present in the here and now. It’s about allowing ourselves to breathe, about taking care of our bodies, about being present even when everything is moving so rapidly. In this cultural moment we are so concerned and cornered by our thoughts, our appearance, our voices and narratives that we tell ourselves. It is so hard to simply just be. ‘Mind & Body’ is a reminder to be present. To come together. Not just with yourself, but with each other. In Mind and Body.” (KC)

Elsa Hewitt – ‘Citrinitas’
I saw Elsa Hewitt play live again recently at Loki in Brixton, and I was hypnotised by her lo-fi, but very intricate synth loops and vocal improvisations. This wonderful soundscape ‘Citrinitas’, is taken from her upcoming eighth album, Chaos Emeralds, which is set for release on 12th April. Chaos Emeralds is the result of an intense few years of personal change and growth for the artist, full of field recordings and poetry extracts, all underscored by her trademark magnetic electronica. (KC)

Sheherazaad – ‘Dhund Lo Mujhe’
Following last year’s completely spellbinding debut single, ‘Mashoor’, Brooklyn-based composer and vocalist Sheherazaad has now shared the second taste of her upcoming album. As stirring waves of sound intertwine with a somewhat buoyant energy, ‘Dhund Lo Mujhe’s celebratory tone is at once juxtaposed with a disconcerting undercurrent. Building to a swirling rich cacophony, it offers a stark reminder to embrace our own unique joy in the face of damaging stereotypes. Qasr, the upcoming debut album from Sheherazaad, is set for release on 1st March via Erased Tapes. (ML)

M(h)aol – ‘Pursuit’
Irish post punks M(h)aol have returned as a four piece with this cutting new single ‘Pursuit’. Drummer and vocalist Constance Keane explains more about the pent up frustration and fear that underscored the track’s conception: “’Pursuit’ is about the experience of being followed home. Sadly, I think it’s something most women have experienced, and something that makes you change your behaviour on a very practical level. It first happened to me when I was 12, and it stayed with me for a long time. The experience of choosing your outfit based on how quickly it could help you get out of a dangerous situation is something I don’t even notice I’m doing sometimes, and that in itself scares me. What am I doing choosing shoes I know I can run fast in, rather than the ones that would go better with my outfit? As a whole, the song is built out of frustration that has accumulated over the past 30 years of being a woman in public.” (KC)

Lambrini Girls – ‘God’s Country’
Currently taking the world by storm, Lambrini Girls are not afraid to call out the government and those complicit in the deterioration of society. Offering a brutal condemnation of ‘Great’ Britain, latest single ‘God’s Country’ seethes with an immense energy and angst-driven power, emanating a raging sense of urgency throughout, cementing Lambrini Girls once again as a truly formidable force that we need now more than ever. Of the track, the band clarify: ““God’s Country is our long, overdue call-out of the government and rise of the far right… Great Britain. Think colonial, shit-hole, chunk of land. Thriving off unhinged nationalism, fed to us by the right red hand of unelected prime ministers… We could deep dive into inspirations and influences- but the song’s about politics, not us. We hope the song speaks for itself. Rishi, Cameron, Cummings, Starmer – you’re all on our shit list.” (ML)

CLT DRP – ‘Until You Showed Me’
Described as a “gender-fluid love sing”, this is the first new material from Brighton-based art punks CLT DRP since they released their second album, Nothing Clever, Just Feelings, via Venn records last year. Speaking about the track, powerhouse vocalist Annie Dorrett explains: “Femininity is a word that has haunted me my whole life, whereas Masculinity is something that I’ve longed for. ‘Until You Showed Me’ is a love song to my current partner for making my gender fluidity something that they nourish and make room for rather than dismiss or ignore. It’s no secret that a lot of people feel the need to lean into a gender role in order to gain respect or normalcy and if they mess with anything outside the binary it can seem threatening. Funnily enough I’ve found myself playing with my femininity a lot more now that I’ve found comfort in my skin again. This song is a little ode to the queers and anyone who strays from the binary in any way small or large. Break the wall from either side, that’s how we get ‘em to listen.” (KC)

Loose Articles – ‘I’d Rather Have A Beer’
Having recently announced the release of their debut album later this year, Manchester’s Loose Articles bring all the racing, roaring energy in latest single ‘I’d Rather Have A Beer’. Offering a warning about those toxic people who won’t make the same effort for you that they expect from you, it’s a perfect, post-punk ode to prioritising your own self worth, having fun with with your pals (over a nice pint) and moving on with your life. (ML)

Bridget. – ‘Take Me Down’
Taken from her debut EP, Damage Reversal, ‘Take Me Down’ is an anthemic offering from Essex-based grunge punk artist Bridget. She will be playing a gig at Luna in Leytonstone on 16th March as part of her EP tour, so if you like what you hear, make sure you grab a ticket to go and see her. (KC)

SPIDER – ‘an object of desire’
‘object of desire’ is the title track from Irish-born, London-based alt-pop artist SPIDER’s brand new EP. The record is a gritty, candid offering, exploring “the unholy trinity of young adulthood” and the web of sex, objectification and self-worth. We interviewed SPIDER on our Soho Radio show for our Great Escape Festival special last year, and she was a breath of fresh air. We’re so excited to see her getting the attention she deserves. SPIDER will play her first ever London headline show at London’s Camden Assembly on March 20th. (KC)

Gouge Away – ‘Dallas’
I was hooked on ‘Stuck In A Dream’, the powerhouse previous single from Florida-based alternative five piece Gouge Away. ‘Dallas’ marks a gear change in sound for the band, but it’s still a heady, corrosive sonic dive into what it feels like to hit rock bottom. It’s taken from Gouge Away’s upcoming third album, Deep Sage, which is set for release on 15th March via Deathwish Inc. (KC)

Heave Blood & Die – ‘Men Like You’
I love this intense offering from Norwegian post-punk collective Heave Blood & Die. It’s lifted from their fourth album, Burnout Codes, which they released back in January. Dedicated to bassist Eivind Imingen, who decided to end his life just following the recordings of the album, Burnout Codes shows the Norwegian collective offering their most textured and innovative album to date, acting as a tender tribute to the talent of their bandmate. (KC)

Dissolved Girl – ‘Silt’
This London-based four piece are named after one of my favourite Massive Attack songs. Dissolved Girl have been meticulously crafting their debut album over the past four years, and this track ‘Silt’ is the second hint at what’s to come. Brooding riffs, trip-hop style beats and a potent vocal all blend together to create a captivating, grunge-infused soundscape. (KC)

CHERYM – ‘Alpha Beta Sigma’
Having just released their debut album, Take It Or Leave It, this month via Alcopop! Records, Northern Irish trio Cherym have been big faves of ours since I first fell in love with them playing Paper Dress Vintage back in 2021. And I was lucky enough to re-live this experience last Saturday as they returned to the venue, delivering an even more wonderful set to an even bigger and adoring crowd. Fizzing with all the colourful punk-pop energy we’ve come to know and love, ‘Alpha Beta Stigma’ offers a fierce reflection on the immense gender inequality and violence against women that still permeates Irish society. One of the most exciting bands around at the moment, I fully expect to be seeing and hearing lots more of Cherym throughout 2024. (ML)

Laura Jane Grace – ‘Birds Talk Too’
Having just released their new album, Hole In My Head, earlier this month, legendary Against Me! Front-person, author and transgender activist Laura Jane Grace offers an uptempo ode to the city of Amsterdam in latest single ‘Birds Talk Too’. I love how its fuzzy punk energy propels the distinctive resonant power of Laura’s vocals, creating a fiercely fun-filled anthem. (ML)

The Empty Page – ‘Cock Of The Fifth Year’
The new single from Manchester’s The Empty Page, ‘Cock Of The Fifth Year’ offers a raging reflection on those ‘jock-type’ guys who often use their size and gender as a means of intimidating others. Of the track, front person Kel explains: “Unfortunately, there are still a lot of blokes like that I encounter when walking around my home city of Manchester. Swaggering, mouthy bellends who can be pretty intimidating when you’re a woman just trying to get from a to b.” I love its gritty energy and the raw power of Kel’s vocals, and can’t wait for the release of The Empty Page’s new album, Imploding, on 24th May. (ML)

Bleach Brain – ‘Crack’
Bleach Brain are a Liverpool-based punk/grunge trio who create anthems filled with heavy riffs and distorted vocals. This track ‘Crack’ is lifted from their excellently named EP, EAT SHIT, which they released at the beginning of the month. The band describe their new record as “a rebellious, angry, energetic EP with songs about violence, abuse, and capitalism.” (KC)

Charley Stone – ‘A Scream’
If you live in London and go to gigs, you probably already know Charley Stone. With a musical CV too long to list, and currently a gigging guitarist in bands such as Sleeper and Desperate Journalist, she has now announced the release of her debut solo album. The first song that Stone ever wrote on electric guitar (back in the last century!), it offers an insight into her creative process and artistic license. With scuzzy hooks that ripple alongside distinctive vocals oozing luscious delayed tones, it builds with a whirring energy to a colourful cacophony. Here Comes The Actual Band, the debut album from Charley Stone, is set for release on 29th May. (ML)

NEXT TO NADA – ‘Whine, Lips’
This track is lifted from London-based noise makers NEXT TO NADA’s upcoming EP, WHINE // MOTHS, which they will be self-releasing on the 15th March. It’s a grinding, punk-infused reflection on pent up frustrations, which vocalist, guitarist and lyricist Georgie explains further: “‘Whine, Lips’ is a self-lament/piss-take that I wrote whilst in a particularly lengthy period of self-destructive behaviour. Dissociation, jealousy, unease, apprehension and defeatism were all running amok in the closed quarters of a brain – leading to (what feels like) a tiresome, vicious circle of poor coping mechanisms and pessimism.” NEXT TO NADA will be playing live at the Dublin Castle on 30th May. (KC)

Um Jennifer? – ‘Glamour Girl’
Having first fallen in love with New York trans duo Um Jennifer last year when I couldn’t get enough of their single ‘Girl Class’, I’m now equally obsessed with latest offering ‘Glamour Girl’. With its playful energy and catchy hooks, it reflects on the pros and cons of recurring patterns in relationships. It’s a fuzzy lo-fi slice of punk-pop perfection that leaves me excited to hear the entirety of Um Jennifer’s new EP, The Girl Class EP, which will be out on my birthday (5th April, for those who don’t know). (ML)

Parsnip – ‘The Light’
A new discovery for me, Melbourne band Parsnip have just announced details of their upcoming album, Behold, which will be released on 26th April via Upset The Rhythm. New single ‘The Light’ fizzes with jangly hooks and an uptempo Raincoats-esque energy; the perfect uplifting antidote to our dreary British weather. (ML)

Lilith Ai ft. Kimya Dawson – ‘Fawn’
Taken from her upcoming album, Serial Killers Prefer Blondes, which is set for release on 13th September via Cruisin Records, this track from London-based indie-rock artist Lilith Ai is an affecting blend of confessional lyrics, atmospheric guitars and rousing beats. (KC)

Emily Magpie – ‘Sunflowers’
Long time favourite, Bristol’s Emily Magpie, has announced that her new album, There Are Other Forms Of Strength, will be released on 19th April. Our first taster of the album comes in the form of glistening new single, ‘Sunflowers’. Flowing with a shimmering energy as Emily’s soulful vocals ripple alongside an uptempo funk-fused allure. (ML)

KIN – ‘Party Anthem’
The new single from London’s KIN, ‘Party Anthem’ offers a poignant reflection on women’s safety. Written back in 2020, inspired by the Reclaim The Streets movement, it oozes a captivating dark allure. Flowing with Grace Strickland De Souza’s crystalline vocals and a swirling instrumentation, a stirring melancholic soundscape is created. (ML)

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Five Favourites: Joanna Sternberg

Probably my most listened to artist of the last twelve months, New York based songwriter and multi-instrumentalist Joanna Sternberg released their second album I’ve Got Me last year; an exquisite rumination on life’s difficulties and hopes which perfectly showcases their vast musical talent, I can certainly see why it received such widespread acclaim from the likes of Rolling Stone and Pitchfork. As well as solely writing each and every song on the record, Sternberg also played every single instrument that you hear; creating a truly unique, genre-spanning collection. With an education in Classical and Jazz music, throughout the album they weave a rich tapestry of beautifully lilting folk-strewn sounds alongside reflective narrative lyricism; all brought together with their raw, impassioned vocals. It really is something quite special that I urge you all to immerse yourselves in, if you’ve not yet already.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate Joanna Sternberg’s upcoming tour dates, I caught up with them to find out about the music that inspired I’ve Got Me most. Read about their favourite songs (we’ve allowed them six choices!) and see details of their upcoming live dates below.

I remember the night before the first day in the studio, Matthew Johnson (of Fat Possum Records) told me to come up with at least one song that I wanted to use as an example to inspire each track of the album. It helped SO much and also made me even more excited to get into the studio. Here are a few of the songs that helped to inspire me!

The Pogues – ‘If I Should Fall From Grace With God’
The Pogues are one of my all-time favourite bands, rest in peace Shane MacGowan. And I actually wrote the song ‘I Will Be With You‘ while I imagined him singing it (with The Pogues accompanying him of course!).

Judee Sill – ‘The Lamb Ran Away With The Crown’ 
The ironic and strange thing is that I wrote ‘Drifting On A Cloud‘ before I was even aware of Judee Sill, though once I became “aware” of her, I immediately became OBSESSED! But then, when I was in the studio playing this song, I really had Judee Sill in my mind, especially this beautiful track, ‘The Lamb Ran Away With The Crown’.

Tom Petty – ‘I Won’t Back Down’
This is a song that I have been obsessed with since the age of twelve! It helped me get through the horrors of being bullied and excluded in the public schools of New York City. I wanted ‘People Are Toys To You‘ to have a similar feeling and arrangement as ‘I Wont Back Down’.  

Leon Russell – ‘I’m So Lonesome I Could Cry’ 
I first heard Leon Russell’s cover of this song (it’s originally by Hank Williams) in the movie A Poem Is A Naked Person. It was near the beginning of the movie and I became so fixated on it that I don’t remember anything else about that film (except for the disturbing scene that I had to cover my eyes for involving a snake…)! Anyway, I definitely tried to emulate the feeling and energy of this song in ‘She Dreams’. 

Randy Newman – ‘Losing You’
Randy Newman is in the top tier list (in my humble opinion) of the greatest songwriters of all time. He has so many songs that make me cry, and I definitely took so much inspiration from ‘Losing You’ when I recorded ‘Right Here‘; I’m sure that I’d recently been listening to ‘Losing You’, so it was definitely in my mind and my soul while I was writing, even if I was not consciously directly thinking of it.

Roy Orbison – ‘You Got It’ 
Another song that I have loved this song since I was twelve (this is the age where I discovered Limewire and the art of making mix tapes!). I wrote ‘I’ll Make You Mine‘ while imagining I was writing it for Roy Orbison to sing. At the time when I wrote it, I was not even singing my songs – my friends would sing them, as I was too scared and insecure.

Massive thanks to Joanna for sharing their favourite songs with us!

I was lucky enough to catch Joanna Sternberg at a beautifully intimate gig last year at King’s Place, and would highly recommend making sure you catch them live too! They’ll be playing at Primavera festival in Porto on 8th June and End Of The Road festival between 29th August and 1st September, as well as opening for Jessica Pratt for a special night at Union Chapel in Islington on 6th June. Tickets available here.

Photo Credit: Shervin Lainez

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INTERVIEW: Smoke Fairies

Having been friends since childhood, Katherine Blamire and Jessica Davies – aka Smoke Fairies – were not only the first band to sign with Jack White’s imprint Third Man Records, but have sold out countless UK tours and recorded many acclaimed albums over the years. Now, following fifth album Darkness Brings The Wonders Home, the duo are working on an entirely independent basis; funding their recent sixth release through fan support on a Patreon page.

A truly poignant reflection on time and how it feels to get older, new album Carried In Sound showcases the glistening folk-strewn musicality and rich harmonious vocal layers that we’ve come to know and love from Smoke Fairies, with an added raw emotive depth, exuding a stirring shimmering splendour throughout.

We caught up with Katherine from the band to find out more about the album, live highlights over the years, and egg boilers… Have a read and make sure you treat your ears to the beautiful new album!

Hi Smoke Fairies! Welcome to Get In Her Ears! Hope you’re well. The two of you have known each other since childhood, which is quite impressive! Are you able to tell us a bit about how you initially met and what inspired you to start creating music together?
We met at school when we were twelve and started singing together when we were thirteen. We were interested in harmonies and recognised there was something interesting about the blend of our voices, but it took years to hone the sound into something properly intertwined. It feels like we are still honing it now. When we were kids we just loved playing together and being the centre of attention at school whenever possible; we were probably quite annoying, getting our guitars out at every opportunity. We dreamed of being on tour mostly, imagining it to be an experience where you drive around in a ’70s bus looking at sunsets and rocking up in small towns to wow crowds of people in leather jackets. Realistically, you are in a transit van surrounded by crisp packets driving on various ring roads and getting angry at the sat nav. It’s still great though and I hope our younger selves would be pleased!

I really love your rich folk-strewn musicality and luscious harmonious vocal layers, but who would you consider to be your main musical influences?
Thank you! I get lost in film scores and any form of dark choral music, psychedelic music and melodic moving songs. I’ve just had a new record player in my flat, so it’s nice to explore the old records again – like Nick Drake and Joni Mitchell, who were more formative influences. But nowadays, I feel like one of those boring people that says they “like all kinds of things”… For example, I was running to the Pina Colada song this week and had a really great time.

You’re about to release your sixth album, Carried In Sound, which is very exciting! Are there any specific themes running throughout the album?
The songs explore time and how it feels to get older – looking back on your past experiences from a more confident place and then looking ahead to the future. There are so many changes we go through as we grow, and Jessica and I have known each other since we were young, so there’s also been a constant in our music and friendship. That’s why Carried in Sound felt like a good title, as music has been a tide we’ve been riding all the way through ups and downs. Also there are themes of grief; loss not only for others, but also the things about yourself that you lose on the way. There’s also a hopefulness about finding a new sense of home and love, and being in a place to receive it.

You recorded the album at home with the volume turned down – are you able to tell us a bit about this process and what it was like for you?
It felt really important to shut out the world and focus on our own sound in our own space and on our own terms. The record is about quite personal thoughts, so it felt right to use the spaces and things around us to make it. Even when the narrative is more character driven, they are characters who are quite insular. The process meant we could hone the songs over time, whereas we are normally restrained by studio time, so that was quite liberating. We’ve released quite a few albums now, so this one needed to dive back into what it means to be a duo and put the voices at the front and give the guitars a lot of space to be heard. We needed to try to do it on our own, perhaps to prove something to ourselves but also to remain pure to the vision we had.

And how would you generally say the album differs from your previous releases?
There was no other motivation other than to create something really beautiful, so there’s no songs that are for the radio or for specific audiences – it’s just entirely us. Sometimes it’s just good to lock yourselves away and work out what you really feel and want to say. This record feels like it all has the same vibe and tones, all coming from the same wellspring.

It’s being released independently, and you’ve garnered lots of support through your Patreon page in the run up to its release – what triggered the decision to do this rather than release via a label, and what’s the experience been like for you?
The patreons have been great. It’s been amazing to have such a strong connection to your audience. It’s helpful to know it means something to people, otherwise you can feel too isolated and become negative, and it’s so encouraging to know that people are happy to receive the songs and waiting for them. It’s given us more confidence to do this independently, and obviously provides funding to help support the release of the record, including touring, promotion etc.

You’ve played and sold out numerous UK and international tours over the years, but is there a particular concert you’ve played that stands out as a highlight?
It’s very hard to remember them all. I do recall playing inside a tent at Latitude festival at an evening slot and it started raining and the crowds came into the tent for shelter and it felt like we created a real atmosphere to warm them. It was in the ‘Film And Music’ tent, so there was an old black and white 1920s film of The Naughty Smoke Fairies playing behind us, and the rain was beating down on the tent canvas; it felt very magical. We always wish our music could be used on film soundtracks as we always strive for something quite filmic with our sound. I liked that night because it felt like everything came together.

And you’re setting out on an intimate tour of special venues and churches to celebrate this album release – what inspired this decision?
This album requires focus and patience, so we wanted to play it in venues that naturally encourage audiences to listen. Churches are unique spaces that give harmonies a natural resonance with built in reverb, while also taking you to a place of stillness and thought. Some songs are really are quite hymn-like, so it felt apt to play them in a space where hymns have been sung through the ages.

When out on tour, are there any particular essentials that you like to take with you to keep you going when away from home?
A pillow, to either rest my head on or scream into depending on what’s happening. Jessica once brought an egg boiler with us, it was truly horrific because she kept making eggs in the van for breakfast. That has been banned now.

As we’re an organisation keen to support new artists, we just wondered how you feel the industry is for new artists at the moment? And do you feel much has changed over the years in its treatment of female and queer artists?
So much has changed in terms of an artist’s ability to work independently, which I think is hugely positive in a world where there is such under-representation at every level for women and queer people across the music industry. Learning how to record and produce opens up a freedom to create work on your own terms, build confidence, ignore the pigeon holing and just get on with what you want to do. Under-representation can create imposter syndrome if you don’t see yourself reflected, but now people can learn skills and push their art forwards without needing to get past so many gate-keepers. A lot of change is still needed of course, and the biased structures need to be addressed to really create an equitable playing field. But I think the rise in independently produced and released music is a testament to people finding their own ways to challenge these systems. We all need to make a living somehow though and it’s tough when you always have to find your own strength and motivation, without the backing of a bigger entity. I wish there was more support available for artists making strides on their own, then we would start to see so much more interesting music being produced from many more perspectives. Releasing an album independently is a lot of work, but it’s worth the sense of independence I think.

And are there any particular new artists you’d recommend that we check out?
Dear Pariah supported us last year and has a great sound and very pure voice.

Massive thanks to Smoke Fairies for answering our questions!

Carried In Sound, the new album from Smoke Fairies, is out now. Buy here. And catch Smoke Fairies live at one of their upcoming intimate dates – more info here.

Photo Credit: Annick Wolfers

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