PLAYLIST: November 2025

The Get In Her Ears team have put together another eclectic mix of indie gems, dream-pop and shoegaze tunes, punk bangers, electronic musings & idiosyncratic experimental soundscapes for your listening pleasure. 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. We have now set up an account on TIDAL, so feel free to follow us on there. You’ll see that we’ve now added all of our previous playlists to our account too!

We’ve also included YouTube/bandcamp links for all of the tracks below, so there’s plenty of ways for you to get your new music fix. You can still access our GIHE profile on Spotify (which we do not have a paid subscription for) but we urge you to use TIDAL, bandcamp or YouTube instead. Happy listening!

The Baby Seals – ‘Tamoo Trance’
Having been super mega fans of Cambridgeshire feminist punks The Baby Seals since they first played live for us back in 2017, and having recently had them back to play at our joyous 10th birthday celebrations, we’re very excited to have new music from them. A fierce take-down of consumer capitalism, combining the band’s trademark playful tongue-in-cheek wit with a gritty raging energy, ‘Tamoo Trance’ offers a seething anthem about getting stuck in a trance-like state in an (obviously completely fictitious) online shop. So, this Black Friday, instead of spending money on stuff that “will go directly in the bin”, perhaps consider supporting your fave DIY artists on bandcamp, or going along to a nice local gig. (Mari Lane – Managing Editor)

VERO – ‘Calico’
Stockholm trio VERO are back with this cathartic guitar tune, their first piece of new music since they released their excellent debut album Unsoothing Interior back in 2022. The band say that ‘Calico’ is a song about “tiring of someone else’s shit” – which they explore through breathy vocals, brooding basslines and acerbic riffs. VERO are set to release their second album via PNKSLM Recordings in 2026, which I am am eagerly anticipating. (Kate Crudgington – Features Editor)

GENN – ‘Reverberations’
Anglo-Maltese four piece GENN have returned with this intensely moody new offering. The band teamed up with producer Johnny Hostile – who has worked with Savages & Jehnny Beth – to bring ‘Reverberations’ to life, marking another development in their already dynamic sound. GENN’s talent is definitely best appreciated live. They’ll be touring the UK in early 2026, with a London headline date at The Shacklewell Arms in Dalston on 26th February. (KC)

nazire – ‘junebug’
When I discovered ‘junebug’ by Istanbul-based artist nazire in my GIHE inbox, I was immediately hooked on her shoegaze inspired sounds. We all know I love the Gloomy Grrrl songs and ‘junebug’ definitely falls into that category! She’s set to release her debut album, Glitchfolk, at some point in the near future. I’ll be keeping my eyes and ears peeled for that. (KC)

Whitelands – ‘Songbird (Forever)’
We are such big fans of London-based shoegazers Whitelands here at GIHE, and that fandom increases each time they share new music. ‘Songbird (Forever)’ is the third track from the band’s upcoming second album, Sunlight Echoes, which is due to be released on 30th January 2026 via Sonic Cathedral. Full of lush riffs, disarming melodies, earnest lyrics and emotive string work by Iskra Strings, the track is an ode to vocalist & guitarist Etienne’s enduring spirit and his appreciation for all those who loved and cared for him. “It’s about my friends, the important people in my life, and my spirit,” he shares. “I was going through a very dark time, but love is a great thing. I’m loved by many incredible people, so I pushed myself with everything I had. Every day was a fight, but I wanted to win.” His lyrics reference both the title of Whitelands’ new album and the Seven Sisters cliffs in East Sussex, where Etienne and bassist Vanessa shot the endearing accompanying video for the track. (KC)

Mannequin Flowers – ‘Collision Course’
Following dreamy last single ‘Six Words’, London’s Mannequin Flowers are back with another ethereal soundscape. Flowing with sparkling hooks and luscious crystalline vocals, ‘Collision Course’ offers a heartfelt confession about falling for your best friend but being too afraid to tell them. (ML)

Hater – ‘This Guy?’
I remember hearing Scandinavian indie band Hater’s single ‘Cry Later’ back in 2017 and thinking they had a great name and a great sound – 8 years and I still think the same! The band are gearing up to release their new album, Mosquito, on 6th January via Fire Records, with single ‘This Guy?’ offering listeners the first taste of what’s to come. A captivating slice of dream-pop, the track is fuelled by a mysterious lyrical narrative about a “confused interloper, unidentified and unidentifiable”. (KC)

The Empty Page – ‘When We Gonna Run?’
It’s great to have Manchester trio The Empty Page back in our ears after being mega fans for pretty much the entirety of Get In Her Ears’ decade long existence! A stirring reflection on preparing to escape an apocalyptic hellscape, ‘When We Gonna Run?’ offers all the gritty grunge-fuelled energy we’ve come to know and love from the band, with an added sparkling shoegaze-tinged allure. Propelled by an anxiety-ridden sense of urgency, its sentiment seems particularly poignant right now. (ML)

HAVVK – ‘Happening Again’
Having played our first ever GIHE gig back in 2016, we’ve been such huge fans of Irish duo HAVVK ever since and I’m so excited to have them back in our ears with this swirling new single. A gritty and cathartic reflection on destructive patterns of behaviour, ‘Happening Again’ showcases the band’s ability to combine a fierce seething energy with the soaring, captivating allure of Julie’s raw vocals. I can’t wait to hear more new music from them very soon. (ML)

Queen Of Nothing – ‘Heaven Is Hurting’
London-based musician Abi Crisp aka Queen Of Nothing has consistently impressed me with all of her offerings, and this track is no exception. ‘Heaven Is Hurting’ is lifted from her recent EP, All the Love That’s Left, a record that explores the complexities of love and grief, and Abi’s personal reflections on both. (KC)

Shy New World – ‘Bridget Jones’
Initially meeting at a séance when the spirit of a popular chocolate brand told them under no uncertain terms to work together, Yel and Ross – aka Shy New World – follow previous punk-pop singles with the release of a perfectly timed festive number. A gloriously fuzzy ode to friendship with a big sound and a big heart, ‘Bridget Jones’ offers a perfectly lo-fi, perfectly catchy and perfectly cute accompaniment to any December gathering. (ML)

Um, Jennifer? – ‘Stunning’
Having first won me over with the playful energy of 2023 single ‘Girl Class’, New York trans duo Um, Jennifer? continue to be total faves with their latest scuzzy punk-pop ode to lust and obsession in the form of new single ‘Stunning’. 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. (ML)

Twat Union – ‘Tiny Shorts’
The latest single from theatrical feminist six piece punk outfit Twat Union, ‘Tiny Shorts’ offers a fiercely empowering anthem, showcasing the band’s trademark ability to combine their playful witty charm with a raging angst-fuelled drive. The band explain: “(it’s a) middle finger to all the cat-calling and demeaning behaviour we receive… it’s a call to treat women with respect no matter what they are wearing.” (ML)

Softcult – ‘She Said, He Said’
Another vital anthem from Ontario-based alternative sibling duo Softcult here. ‘She Said, He Said’ is a seething guitar tune about believing survivors of sexual assault, fuelled by the pairs visceral riffs, propulsive beats and call-and-response vocals. The track will feature on the band’s debut album, When A Flower Doesn’t Grow, which is due on 30th January 2026 via Easy Life Records. Softcult are currently touring the UK, and will play a headline show at The Dome in North London on 2nd December! (KC)

DELILAH BON – ‘Evil, Hate Filled Female’
Seamlessly combining honey-sweet pop with relentless metal-inspired hooks and a raging energy, DELILAH BON has been building a devoted fanbase over the last few years with her relatable, empowering messages. Receiving acclaim for last year’s Evil, Hate Filled Female album, and selling out a UK tour earlier this month, I’m excited to hear more of her visceral, bold, anti-patriarchy anthems. (ML)

Yakkie – ‘Kill The Cop Inside Your Head’
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 feels like it’s been a long wait for this debut single from the incredible supergroup. 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’s been amazing to see this absolute epic collective of faves come together in all their seething punk-rock glory, offering the rage, joy and unity we all so desperately need.

A fierce rallying cry against self-defeat, ‘Kill The Cop Inside Your Head’ is propelled by relentless riffs and a swirling empowering energy – in Janey’s words: “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!” It’s 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, and I’m extremely grateful they exist. (ML)

Black Water County – ‘Wreckless’
The latest single from Dorset folk-punks Black Water County, ‘Wreckless’ offers a frenzied, empowering anthem exploring the tensions between self-consciousness and self-liberation. Showcasing the band’s ability to channel defiance, camaraderie and catharsis into a perfect fusion of punk passion and folk heart, it’s an instantly infectious ode to endurance and the resilience of everyday life. Having previously shared stages with the likes of Less Than Jake and Flogging Molly, Black Water County are currently out on tour – I can’t wait to catch their fierce energy live at The Grace tonight! (ML)

Annabelle Chairlegs – ‘Concrete Trees’
Based in Austin, Texas, Lindsey Mackin aka Annabelle Chairlegs is set to release her new, Ty Segall-produced, album in January next year. Ahead of the album’s release, latest single ‘Concrete Trees’ offers a poignant ode to a late friend, propelled by surf-tinged memories and a sparkling uplifting energy. Of the track, Mackin adds: “This song is for friends who have passed that you wish you could have one more hang with. I often find myself asking those who have passed if they are here with us now.” Waking Up, the new album from Annabelle Chairlegs, is due for release on 30th January 2026 via TODO. (ML)

Tanzana – ‘Covet’
A band I’m very excited to have only recently come across, Glasgow’s Tanzana blend elements of sultry trip-hop with a soaring rock energy to create a sound which is uniquely theirs. Debut single ‘Covet’ represents feelings of obsession, building to a sweeping climax as fierce swirling vocals are accompanied by slick riffs. Already selected as part of The Great Escape’s First Fifty, these Scottish newcomers are definite ones to watch in 2026. (ML)

The Dead Zoo – ‘In The End 2025’
Genre-defying post-punks The Dead Zoo return with an exhilarating and unrecognizable revision of their 2021 release ‘In the End’. Revamped and reimagined, it offers a shimmering and jubilant ode to transformation; a powerful validation of trans identity propelled by pulsating, multi-layered soundscapes. Kaoru from the band explains: “The lyrical theme is founded on my gender transition experience. The sense of keeping faith in an envisioned future and using that goal to overcome difficulties and stay on course; though I think it carries a more universal message of hope and optimism we all need in these dreadful times, where those commodities are scant for many minority voices.” (ML)

MIRI – ‘Freedom Is The Purpose’
The latest single from London-based innovative songwriter and longtime GIHE fave MIRI, ‘Freedom Is The Purpose’ offers a soulful call to unite, rally against those in power and support those communities who need us most. Interweaving the trademark gritty emotion of her vocals with uptempo reggae-inspired beats, the single is available to buy on bandcamp and encourages listeners to support fundraisers for four Palestinian families’ fundraisers. (ML)

Sheherazaad – ‘Gulukara’
A huge fan of Brooklyn-based artist Sheherazaad since first falling in love with 2023’s debut single ‘Mashoor’, I’ve been lucky enough to immerse myself in her captivating live presence twice and now find myself (unsurprisingly) utterly entranced by new single. Translating as ‘songstress’, ‘Gulukara’ features childhood friend and Kodaikanal-bred rapper Irfana and offers an exquisite nocturnal hymn, highlighting the historical confluence of sex work and female artistry. (ML)

Penelope Trappes – ‘Bleed’
Another shadowy, moving offering from GIHE favourite Penelope Trappes. After sharing her poignant album, A Requiem via One Little Independent Records earlier this year, the Brighton-based Australian artist has now shared a companion LP titled Æternum, featuring this track ‘Bleed’. Penelope has also shared a stunning accompanying video for the track, directed by her long-time visual partner Agnes Haus (who is also featured on this playlist), shot inside the walls of a mysterious cave. Penelope will be playing a headline show at St Matthias Church in East London on 29th November. (KC)

Agnes Haus – ‘Faust’
A spinetingling experimental soundscape from Brighton-based non-binary sound artist Agnes Haus here. ‘Faust’ is lifted from their upcoming album, Inexorable Ascent, set for release on 5th December via Penelope Trappes’ label Nite Hive. Described as “a hallucinatory polyphonic study of external perceptions of what it means to live in a perpetual liminal state,” Agnes locked themselves in an attic studio every night between the hours of 12 and 4am to create these idiosyncratic sounds. I am deeply intrigued by this artistic process and look forward to hearing Agnes’ new record in full. (KC)

PostLast – ‘Scavenge’ (Birthday Problem remix)
This is a superb collaboration between Irish alt-pop duo Post Last and Irish alternative electronic duo Birthday Problem. We’ve been following both bands for a while here at GIHE and we’re always excited when they share new music with us, and this remix of ‘Scavenge’ is certainly one of my favourites to date. (KC)

Twin Rains – ‘Creation’
Another iridescent, shape-shifting tune from Toronto dream-pop act Twin Rains here. Vocalist Christine Stoesser was inspired to write ‘Creation’ after reading J.R.R. Tolkien’s The Silmarilion. “I didn’t expect to be so moved by the creation myth of the Elves,” she shares, “It’s some of the most beautiful writing I’ve ever read”. The band have translated Christine’s reflections on the book into upbeat, shimmering electronic sounds. (KC)

Death Hags – ‘Space x Time’
It’s been a while since I’ve heard from independent LA musician and multimedia artist Death Hags, but I’m glad she’s back with this eclectic piece of electronica. Taken from her album Big Grey Sun #5 – the fifth volume of her ongoing seven album project! – ‘Space x Time’ enraptures with its seamless blend of atmospheric synths, dance-inspired beats and ethereal vocals. The whole album is a sonic TRIP. (KC)

Floralis – ‘black combat boots’
‘black combat boots’ is the opening track to British born, Indo-Trinidadian antifascist transfeminine artist Floralis’ superbly named album, Saboteur Club Anthems Vol. 1. With its stomping dance-inspired beats and chant-worthy lyrics, it’s an infectious slice of “anarchist electro punk” that kicks off a truly eccentric and essential record that aims to dismantle fascism in all its forms. (KC)

Kloyd ft. Circe – ‘Girl’
I’m already a big fan of dark-pop artist Circe, but Yorkshire-born, London-based producer Kloyd is new to me. I love this collaboration between the two of them, featuring Circe’s seraphic vocals and Kloyd’s lilting electronics. Speaking about the origins of the track, Kloyd explains: “I had a session with Alexa (Circe) and she came up with this really beautiful vocal line and I couldn’t stop listening to it. It channels the sentiment of this new work truly. I imagined when making the track someone seeing a woman they felt so beautiful they fall head over heals in love with her, before realising what they were getting themselves in for. A love so captivating it feels like magic and turmoil at the same time.” ‘Girl’ is taken for a larger project that Kloyd will be announcing soon. (KC)

SESTRICA – ‘Intuition’
“A Way to Ananda is my experience of coming back to life and bliss after going through divorce,” explains Barcelona-based artist SESTRICA about her upcoming EP release. Due on 5th December, her new EP features this single ‘Intuition’, which was inspired by her decision to trust her instincts and move to a new country to pursue her musical dreams. Propelled by intense beats and layers of eclectic synth sounds; the track provides listeners with a blissful, heady moment of electronic catharsis. (KC)

False Idah – ‘Gaslight’
Having been big fans of the sultry beats and genre-defying heartfelt offerings of London-based songwriter and producer Jay Brown, under her previous guise as Amaroun, we’re now excited to hear that she’s back with a new project. False Idah takes all that we loved about Amaroun, but develops it into something more as Brown immerses herself in the vulnerability of stripped-back songwriting and the inspiration that can come with the freedom to express yourself in a true and honest way. I was lucky enough to catch an intimate live performance at Servant Jazz Quarters back in September, ahead of the release of this beautifully raw new single. (ML)

Perfume Genius – ‘Me & Angel’
I first fell in love with Perfume Genius on hearing ‘Queen’ when it was released back in 2014 – it seemed to offer something completely unique, something beautifully queer that I sought a great deal of comfort in. Since then, I’ve followed his career with each new album, as well as becoming quite obsessed with the raw vulnerability of earlier releases Learning and Put Ur Back Into It, but every time he’s played in London something’s cropped up which has meant I’ve not been able to go. That was until earlier this month, when I finally got to immerse myself in the utterly compelling, truly cathartic experience of seeing him live at The Roundhouse. Treating us to older favourites, as well as the majestic grandeur of newer songs like this one from his recent album Glory, it was a memorable evening that left me feeling soothed and hopeful. (ML)

Lowli – ‘Window In The Woods’
‘Window In The Woods’ is the title track from Irish composer & songwriter Lowli’s debut album, which she released via VETA records in October. It’s a beautiful, introspective record which sees Lowli process unsettling memories and emotions through her tender keys, crystalline vocals and atmospheric electronics. (KC)

Ailbhe Reddy – ‘So Quickly, Baby’
This is the second single from Dublin-born songwriter Ailbhe Reddy’s upcoming second album, KISS BIG, which is set for release on 30th January 2026 via Don Giovanni Records. ‘So Quickly, Baby’ is described by the artist as “the meltdown song, the album’s neurotic heartbeat,” which is why it packs such an emotional punch. Inspired by the tumultuous aftermath of a big breakup, Ailbhe’s new record promises to be just as raw and relatable as her previous efforts. (KC)

Jasmine.4.t & Jacob Alon – ‘Find Ur Ppl’
A completely dream collaboration between two total faves, ‘Find Ur Ppl’ was written by Jasmine early in her transition and offers a truly beautiful ode to the queer community; a heartfelt message of hope about finding people you love who you can be yourself around. It’s taken from charity compilation, All Things Go: 10 Years, a collection featuring loads of other artists from ATG Records including Kesha and Joy Oladokun, with all proceeds going to The Ally Coalition. (ML)

Snocaps – ‘Coast’
Being a huge fan of both Waxahatchee and Swearin’, I’m pretty excited by new supergroup Snocaps; featuring Katie Crutchfield and her twin sister Allison, along with MJ Lenderman and Brad Cook. The stuff dreams are made of, basically. Taken from their recently released self-titled album, ‘Coast’ showcases the gorgeous, fuzzy allure of this new collaboration perfectly. (ML)

Tenderness – ‘Database Blues’
As someone who had Deep Throat Choir soundtrack me walking down the aisle, hearing the voice of anyone from that incredible collective always feels pretty special. And so the news that Katy Beth Young (also of Peggy Sue) is sharing more new music from her solo project Tenderness is very welcome to my ears. Following previous single ‘We’ll Always Have Paris 1919’ a recent tour with Willy Mason, latest offering ‘Database Blues’ offers a gorgeously country-tinged reflection on a world of streaming algorithms as Young’s rich vocals create a soothing, immersive warmth. Of the track, she explains: “Sending a song to a crush is obviously one of life’s purest joys but what does it mean when the algorithm plays it back to you later? Can you still call it a sign? I was an MSN Messenger teenager so there have always been screens in my romances – screens as a connector and amplifier as well as a barrier.” (ML)

SASAMI – ‘Just Be Friends’ (Soccer Mommy Version)
Genre-bending artist SASAMI has shared a collaborative version of her track ‘Just Be Friends’, featuring indie artist Soccer Mommy. Originally featuring on SASMI’s album, Blood On The Silver Screen, this new version encapsulates the artist’s pure love for modern country music, as she explains further: “Country songs have to be some of the most effective and cutting examples of peak pop songwriting- wit, drama, humour, sadness, and the most human of all – horniness. My song ‘Just Be Friends,’ was definitely inspired by modern country, but I knew if I wanted it to be truly authentic I would need to enlist an actual southern princess. This new version featuring Soccer Mommy, pedal steel and all, delivers on the country magic that I had always wished could be in that song. That’s the best part about collaboration, all hat all cattle.” (KC)

Lucy Leave – ‘Go To The Show (I Just Wanna)’
Ahead of the release of their upcoming album, Feelings Explorer I & II, in spring next year, Oxford indie-pop trio Lucy Leave have now shared a new triple (!) A-side single. Accompanying the scuzzy hooks of ‘Steve Lamacq Wants To Know’ and ‘The Letter P and The Number 7’, ‘Go To The Show (I Just Wanna)’ reflects on singer Mike’s experience as someone with cerebral palsy, and the reality that attending and playing gigs post pandemic is pretty much impossible for the covid-vulnerable. (ML)

CLICK HERE TO LISTEN THE PLAYLIST ON TIDAL!

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FIVE FAVOURITES: Jouska

Using her music to break the cycles of self-doubt and anxiety, Norwegian songwriter and producer Jouska creates shape-shifting alt-pop with deep emotional resonance. Her latest album, How Did I Wind Up Here?, is a thoughtful extrapolation of grief, distance and time; showcasing her ability to move through heavy emotions with impressive charm and grace.

We think one of the best ways to get to know an artist is by asking what music inspired them to write in the first place. We caught up with Jouska to ask about her “Five Favourites” – and she picked five albums by an eclectic range of artists who have inspired her songwriting techniques.

Check out her choices below and scroll down to watch the official lyric video for Jouska’s tentative single ‘California’ too…

1. The Books – Lost and Safe
I discovered this album when I was around sixteen, and listening to it now immediately takes me back to high school. I would listen when I was heartbroken, when I felt alien and alone, and I used to dream about leaving the small town in Norway I was from, about going to New York or somewhere far away. It kind of feels like the soundtrack to a version of myself I don’t really remember clearly anymore, but still feel connected to. It’s full of imperfections and warmth and I love the little details, the humour and the sadness underneath. It has this strange calmness to it, even when it’s chaotic. It was a big inspiration for me long before I even started producing my own songs, and their use of sampling, spoken word and cello has always been especially inspiring for my own music.

2. Bon Iver – Bon Iver
I first heard this album in high school. I would sit in class with my headphones on, zoning out, trying not to cry. It was the first time I heard something that sounded so big yet so fragile. Everything about it felt like winter. I think that’s why it resonated so much with me at the time. I was so fragile myself, so unsure of who I was or what I wanted. This album held me through some rough years when I was trying to find myself and also through a horrible teenage heartbreak. Even now, when I listen to the Bon Iver album, I get that same knot in my stomach. It’s like an old memory that never fades. It still feels like something to return to when I don’t know where else to go.

3. The Radio Dept. – Pet Grief
I started listening to The Radio Dept. in high school, mostly songs from Clinging to a Scheme, but Pet Grief became really important to me later on. For the last few years, it’s been one of those albums I keep coming back to. There’s something about its world that feels endless. Everything sounds soft, distant, and nostalgic, like it’s covered in a thin layer of fog. It’s been a huge inspiration on my album. It’s melancholic but comforting. I love the vocals and how they’re processed – that hazy, detached sound that somehow makes everything feel even more emotional. They’re Swedish and I’m Norwegian, and somehow it feels like we’re connected in a way, like the same kind of melancholy runs through the songs and through where we’re from, haha! There’s something familiar about it that I can’t really explain, but I always feel at home when I listen.

4. ML Buch – Suntub
I discovered Suntub last year, and it completely blew me away. It’s rare for me, as an adult, to find something that makes me feel the way music did when I was a teenager. ML Buch’s songwriting and guitar playing is intricate,and the sound is just otherworldly. This album reminded me what it feels like to be obsessed with music again. Every time I listen, I notice something new: a texture, a chord change, a detail I missed. It’s so fluid and detailed, like a dream world that keeps shifting. It gave me a sense of creative hunger I hadn’t felt in a long time. It’s one of those albums that just makes me want to go home and make more music.

5. Jenny Hval – Blood Bitch
In 2020, when I was struggling a lot, this album became my soundtrack. I would walk around in the Norwegian winter, completely wrapped up in it, feeling sorry for myself. Blood Bitch is dark, mysterious and ethereal; it feels like being inside a dream that’s both beautiful and unsettling. Seeing her perform this album live was one of those moments I’ll never forget. I remember standing there, completely stunned. I love how she mixes the personal and the abstract, how she makes something so strange feel so familiar. At the time, I think I needed something that matched the chaos in my head. This album did that – it was sad but also comforting. It made me feel seen in a weird, indirect way.

Thanks to Jouska for sharing her favourites with us!
Watch the lyric video for her track ‘California’ below.

Follow Jouska on bandcamp, YouTube & Instagram

Photo Credit: Hans Olav Settem

Kate CrudgingtonLeave a comment

PLAYLIST: September 2025

The Get In Her Ears team have put together another eclectic mix of indie and alt-folk gems, reverb-drenched guitar tunes, electronic musings & intriguing experimental sounds for your listening pleasure. 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 if you can!

Queen Of Nothing – ‘Hell Is A Lonely Place’
Despite its gloomy namesake, this track from London-based musician Abi Crisp aka Queen Of Nothing is actually an “anthem for queer joy.” It’s the first single from her upcoming EP, All the Love That’s Left, and it’s full of her yearning vocals, reverb-heavy guitar and emotive lyricism. “I wanted to write a song that felt both hopeful and defiant for anyone who might relate to it,” Abi comments about the context of ‘Hell Is A Lonely Place’. “Even in those moments of joy and self-acceptance, it can be so hard to let go of the negative emotions we grow used to.” This tenacity is reflected in the track’s striking volume shifts and gritty-but-buoyant guitar riffs. (Kate Crudgington – Features Editor)

TTSSFU – ‘forever’
Taken from her recent EP, Blown, this is the latest single from Manchester-based artist Tasmin Stephens aka TTSSFU. ‘forever’ is a nostalgic reflection on a lifelong friendship, full of her lush vocals and dreamy, shoegaze-inspired guitar sounds. (KC)

Whitelands – ‘Glance’
GIHE favourites Whitelands are back with new music and the the announcement of their second album! Sunlight Echoes is set for release on 30th January 2026 via Sonic Cathedral, and ‘Glance’ is the first offering from the new record. It shimmers with the shoegaze band’s trademark sensitivity, but also showcases a refreshing new dynamic to their songwriting. ‘Glance’ was written after vocalist and guitarist Etienne overcame a period of writers block. “I wasn’t really catching my stride with songs and I called up Neil Halstead [of Slowdive] for advice,” he explains. “When I next saw him he asked if I had solved it and I told him yes, as I’d had my heart broken. He laughed and was like, ‘Yeah, that’ll do it’.” This experience is mirrored in the accompanying video for ‘Glance’ which features British film stars David Jonsson (The Long Walk, Alien: Romulus, Rye Lane, Industry) and Honor Swinton Byrne (The Souvenir, I Am Love) – as well as Estella from Big Joanie! (KC)

Needy Pet – ‘Mental Health’
Self described Irish ‘glam-punk’ band Needy Pet have been building a reputation over the last few months for their high-energy live shows, and are now ready to blast into your ears with their stomping debut single. A raging reflection on the state of Irish mental health services, ‘Mental Health’ showcases Needy Pet’s ability to create catchy ‘70s inspired anthems with a fresh, socially conscious drive. (Mari Lane – Managing Editor)

LOBSTERBOMB – ‘Falling’
Another month, another banger from Berlin−based post−punk outfit LOBSTERBOMB. The band say that this track ‘Falling’ is “about looking instead of running away, about accepting instead of holding on; and about welcoming the new version of yourself, even if it hurts at first.” (KC)

Maria Iskariot – ‘Witte Rook’
First catching our attention earlier this year with seething single ‘Leugenaar’, Dutch band Maria Iskariot have now announced that their debut album will be out in the world next month. And, ahead of the album’s release, they have shared another slice of raw, no-frills punk in new single ‘Witte Rook’ (white smoke). Fizzing with a wonky, distorted allure as the immense gritty passion of front person Helena Cazaerck’s vocals rage throughout, the band describe the track as “…a victory for losers, an attempt at forgiveness, swallowing, biting in your own lip and saliva that tastes like iron.” Wereldwaan, the upcoming debut album from Maria Iskariot, is set for release on 31st October. (ML)

Softcult – ‘16/25’
I was so excited to hear the news that Ontario sibling duo Softcult have finished their debut album! When A Flower Doesn’t Grow is set for release on 30th January 2026 via Easy Life Records, and ’16/25′ is the first offering from the LP. The track offers a scathing commentary on the predatory behaviour of older men who groom younger women, which the band deliver through spiralling riffs, piston-like percussion and haunting vocals. As vocalist and guitarist Mercedes Arn-Horn explained to me when I interviewed her back in 2024, this new album will mark another evolution in Softcult’s sound, something which is immediate and obvious on this new track. (KC)

Mannequin Flowers – ‘Six Words’
Cascading with fuzzy hooks and lush crystalline vocals, ‘Six Words’ is the latest single from upcoming London band Mannequin Flowers. A dreamy soundscape powered by raw emotion and gritty energy, it offers a soaring insight into what this new band are able to create; of the track, the band explain that “it captures the ache of loving a vision that can never be real”. Shimmering with shades of Cocteau Twins, it marks Mannequin Flowers out as definite ones to keep your ears and eyes peeled for over the next few months. (ML)

Better Joy – ‘Steamroller’
A defiant anthem about reclaiming strength in the face of loss, ‘Steamroller’ is the new single from Manchester-based Bria Keely, aka Better Joy. Whirring with fuzzy hooks as Keely’s sugar-sweet vocals flow with a sparkling emotion, it offers a catchy taste of her upcoming new EP, at dusk, set for release on 31st October. (ML)

Larlin – ‘Limbo’
‘Limbo’ is the third single from alt-rock Brighton trio Larlin. Fronted by Maryann, the band create cathartic, driving anthems influenced by the sounds of Wolf Alice and Nieve Ella. This track is about the frustration of being stuck inside a doomed relationship that you’re not quite ready to let go of, which is reflected through brooding riffs and Maryann’s yearning vocals. (KC)

Lusa Morena – ‘You Don’t Keep Away’
Having previously been blown away by the swirling immersive energy of Portuguese, London-based band Lusa Morena when they played for us live a couple of years back, I was excited to hear of their revived iteration as a theatrical rock duo. With debut single ‘You Don’t Keep Away’, they reflect on the all-too-common experiences of being made to feel uncomfortable by men with a fiery impassioned spirit and playful tongue-in-cheek wit. (ML)

Read The Room – ‘Phoenix’
A fierce collision of different musical influences delivered with a fresh, rousing energy, ‘Phoenix’ is the high-octane new single from Norwich rockers Read The Room. It offers an impassioned reflection on our ability to overcome trauma and rise, ‘like a phoenix’, from the ashes. (ML)

Mia Joan – ‘Us’
The latest single from London-based artist Mia Joan, ‘Us’ offers a poignant reflection on love, an earnest dedication to “the one person who loves every part of you, even when you feel you’re being held back by all of your past selves.” Flowing with lilting melodies alongside the deep resonant emotion of Joan’s vocal, I just love its shimmering heartfelt grace. (ML)

Marine Store Dealer – ‘Speed Back To Me’
Originally from Nottingham and Istanbul respectively, London-based Marine Store Dealer create shimmering folk-tinged soundscapes, interweaving dreamy layers of instrumentation. Set to release their second album, When We Swim Outside In The Floods In The Streets, later this Autumn, their new single ‘Speed Back To Me’ is out now. (ML)

Automatic – ‘Black Box’
The latest single from dark-pop trio Automatic, ‘Black Box’ oozes a sweeping majestic groove as fuzzy beats propel the track forwards. As sultry hypnotic vocals flow throughout, it offers an infectious synth-driven anthem. Of the track, the band explain: “It’s a pretty straightforward critique of people that have sold out on a large scale, specifically within creative industries…” Is It Now?, the new album from Automatic, is out now. (ML)

Tusks – ‘Cold Storm’ (TAAHLIAH Remix)
Tash and I have been loving the remixes that London-based electronic songwriter and producer Tusks has been sharing recently, and this collaboration with Scotland-based artist & DJ TAAHLIAH is no exception! It’s lifted from her new EP, Gold – The Remixes, which is out tomorrow (1st October) via One Little Independent Records. (KC)

Noé Solange – ‘Home’
This atmospheric, soothing soundscape comes from London-based, Dutch-Indonesian producer Noé Solange. ‘Home’ is the second single from her upcoming EP, Moments, set for release on 13th October via Anjunachill. “It captures the complexities of holding onto the past, searching for a sense of belonging and letting go,” Noé explains about the tracks that form her new record; all reflected in her blend of ambient synths, gentle vocals and lilting beats. (KC)

Donna Thompson – ‘What Is It?’
Set to release a new EP in November, London-based Donna Thompson fuses together elements of hip-hop, folk and indie with a soulful impassioned grace. Of new single ‘What Is It?’, she explains: “I’ve been thinking about the deconstruction of traditional ideas on how my role as a female in a cis relationship has predefined expectations that often don’t align with what loving someone feels like. I can still love you if I don’t wanna wash your underwear.” What In The World, the new EP from Donna Thompson, is out on 21st November via Prah Recordings. (ML)

Flock Of Dimes – ‘Defeat’
A beautiful reflection on personal growth, ‘Defeat’ is the latest single from Flock Of Dimes, the new project of Jenn Wasner (Wye Oak, Bon Iver). Combining rippling hooks with a sweeping shimmering emotion, it offers a heartfelt first taste of her upcoming album, The Life You Save, out on 10th October via Sub Pop. Of the track, she explains: “It represents a moment of total surrender. It’s about the moment I finally allowed myself to accept my own powerlessness…” (ML)

Stella Donnelly – ‘Feel It Change’
This is the latest single from Australian songwriter Stella Donnelly, inspired by her ruminations on an inevitably doomed relationship. It’s lifted from her upcoming new album, Love and Fortune, which is set for release on 7th November via Brace Yourself Records (UK & Europe) and Dot Dash Recordings (globally). Stella’s new record is a reflection on a time of profound change and growth, which shines through in her considered instrumentation and candid-yet-poetic lyricism. (KC)

Josienne Clarke – ‘In The Dark Of The Night’
Described as “a hug in song form, a held hand through an anxious night,” this tender offering from songwriter and guitarist Josienne Clarke is exactly that. Lifted from her upcoming album, Far From Nowhere, which she will release via her own label (Corduroy Punk) on 17th October, ‘In The Dark Of The Night’ is a dreamy offering designed to lull listeners into reassurance, which Josienne achieves through her acoustic guitar and soothing vocals. Her upcoming album will be accompanied by a short film titled Deluded, directed by Alec Bowman Clarke, which offers a behind-the-scenes peek into the album’s creation. Currently screening at festivals, the film will be shown throughout Josienne’s UK tour this October. (KC)

Brain Leak – ‘Moon Eyes’
Following the gloriously hazy allure of debut ‘Trying’, Manchester based Brain Leak are back with their “Lana moment’ in the form of sparkling single ‘Moon Eyes’. As the delicate celestial vocals of Tara-Gabriella Engelhardt (Adjustments) ripple with a stripped-back emotion alongside glistening keys, it showcases a more vulnerable side to the songwriter; a beautifully introspective ode to personal growth. Tara-Gabriella explains more: “Sometimes relationships evolve in completely unforeseen ways, and that can be scary if you’re a sensitive person like I am who struggles with change. This song is me coming to terms with that change.” Brain Leak also features Sidonie Hand-Halford (The Orielles), Jess Branney (Peaness, BC Camplight) and Giulia Bonometti (Working Men’s Club). (ML)

Snakeskin – ‘October Sun’
Beirut-based duo Fadi Tabbal and Julia Sabra aka Snakeskin are new to me, but I’m captivated by their haunting electronica. This track ‘October Sun’ is taken from their upcoming third album, We live in sand, which is due on 10th October as a co-release between Ruptured and Beacon Sound. Penned as the war in Gaza spread to Lebanon, the LP has been described as their “starkest and most immediate work to date,” blending industrial and ambient elements to reflect the unpredictable and harsh realities of the world around them. (KC)

Jouska – ‘Season Of Dread’
Norwegian artist Jouska said she penned this track when she felt like she was “stuck inside a winter that wouldn’t end – both emotionally and physically.” It’s taken from her upcoming album, How Did I Wind Up Here?, set for release on 17th October. I admire the way Jouska moves through heavy emotions with impressive grace here. (KC)

Lōwli – What’s It All For?
I’ve mentioned (multiple) times before that Irish musician and composer Lōwli is one of my favourite new music discoveries this year, and I’m really looking forward to hearing her debut album, Window In The Woods, in full – which is due on 24th October via VETA Records. This latest single ‘What’s it all for?’ is laced with her trademark melancholic keys, yearning vocals and poetic lyrics. (KC)

Blue Loop – ‘Luxury Chords’
London-based electronic producer Emma Hall aka Blue Loop describes ’Luxury Chords’ as “a woozy, love-soaked ballad” that she wrote for her partner during the bleakest days of her own chemotherapy treatment for breast cancer, which she is now in remission from. It’s lifted from her upcoming album, Cycles, which is set for release on 7th November. The track is inspired by the simultaneous coexistence of love, grief and suffering; a poignant sentiment that I think lots of people will be able to relate to. (KC)

Klein – ‘rich dad poor dad’
I’m so glad I unearthed this experimental gem from UK rapper Klein in my GIHE inbox. ‘rich dad poor dad’ is taken from her upcoming record, sleep with a cane, due on 1st October, which is described as a UK rap record “in the form of an ambient folklore mixtape.” I really love her hypnotic layering of sounds and I’m looking forward to listening to the record in full. ‘rich dad poor dad’ is also accompanied by a self-directed music video, which features Klein in different locations in South London, including the iconic Windrush Square in Brixton. (KC)

Hilary Woods – ‘Endgames’
I’ve been a fan of Irish artist Hilary Woods for some time, so I was pleased to see that she’ll be releasing her new album, Night CRIÚ, on 31st October via Sacred Bones (one of my favourite record labels.) Retaining her experimental spirit, but also seeing her return to a more song-based structure, the album is centered around Hilary’s vocals which act as threads of connection to the past and the present. This track ‘Endgames’ is the first hint at what’s to come; a dynamic, shape-shifting soundscape that stirs the senses. (KC)

Jessica Moss – ‘until all are free’
As a core member of the Montréal chapter of Musicians For Palestine, violinist and composer Jessica Moss felt compelled to write her new solo record to keep people’s eyes and ears fixed on the ongoing genocide in Gaza. Her meditative LP, Unfolding, due on 24th October via Constellation, is divided into four parts titled; “no one / no where / no one is free / until all are free” and this track ‘until all are free’ is the poignant closing composition. Unfolding is dedicated to “a free Palestine in our lifetime.” (KC)

Agnes Haus – ‘Persona’
Described as “a hallucinatory polyphonic study of external perceptions of what it means to live in a perpetual liminal state,” I am deeply intrigued by Brighton-based non-binary artist Agnes Haus’ new work. This track ‘Persona’ is lifted from their upcoming album, Inexorable Ascent, set for release on 7th November via Nite Hive, and forms part of a collection of drone-based modular synthesiser sounds composed solely between the hours of midnight and 4am. Agnes locked themselves in their attic studio every night for two weeks in order to work in this way. “I watched granular Bergman and Tarkovsky films in the background while I crudely experimented on my small modular synthesiser,” they explain. “I had been feeling like a pariah at the time by shunning binary systems on all levels, from politics to everyday life, which had become suffocating in the online world. I kind of anaesthetised myself in the late-night hours, focusing on the subtleties of the quiet particulars of sound – the details of the infinite intonations in between.” Watch the self-directed video for ‘Persona’ below. (KC)

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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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