LIVE: Tanita Tikaram @ Royal Festival Hall, 15.11.2025

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

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

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

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

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

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

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

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

Mari Lane
@mari_getinherears

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Five Favourites: Madi Diaz

Having just released her new album, Fatal Optimist (ANTI_), Nashville-based songwriter Madi Diaz continues to build on her reputation for chronicling heartache with a stripped-back lyrical honesty, endearing vulnerability and beautifully lush musicality. Reflecting on the rage, embarrassment and grief that comes with the ending of a relationship, the album showcases Diaz’s rich, resonant vocals which glisten throughout with a deep, raw emotion and shimmering heartfelt splendour.

We think one of the best ways to get to know an artist is by asking what music inspires them. So, to celebrate the release of Fatal Optimist, we caught up with Madi Diaz to ask about the music that has inspired her the most. Read about her five favourite songs, and make sure you check out the album and watch the new video for album track ‘Why’d You Have To Bring Me Flowers‘ at the end of the article.

I’m going to use this moment to talk about five songs I wish I had written. These are the songs that are currently haunting me. I feel like they touch on the very same thoughts I touched on or ideas I’ve even tried to write out, but haven’t come as close as these songs totally nailing it for me. I bow to these songs. 

Stephen Wilson Jr – ‘Grief Is Only Love’ 
My friend Stephen Wilson Jr has a way of singing these deep profound soul truths in a way that feels like he is a feelings chemist explaining why your chemicals are making you feel the way you do. What the chemistry of your heart is doing to balance itself. ‘Grief Is Only Love’ just resolves a confusion of an indescribable pain in this way that I feel like I can understand myself a little better, and can be a little kinder to myself when I’m hurting over something or someone. It’s such a gift of forgiveness by way of listening to a song. 

Sabrina Carpenter – ‘Lie To Girls’
I’ve gotten close enough to writing this song. I’ve gotten as close as to say something like “you don’t even have to lie to me, I’ll just do it” but my GOD they just said it better. They walk you all the way there. The chorus stands alone so simply and plainly in one single line that it feels like a slap in the face. It’s also a feeling that I have felt so loudly so often that when I heard this song for the first time I almost had to pull my car, because it was so affirming that it shook me. 

SZA – ‘I Hate U’
It’s gotta be so fun to be so mad that you can just write it exactly as directly as you feel it. I hate you. I mean, the woman that she is. SZA’s writing feels like the full force of nature. It’s hard for me to pick one song off of this record that I wish I wrote because just all of SOS is such a deep dive into detail in a way that is just such a gift to the listener. It’s brutal and it’s self aware. It’s apologetic and empathetic as it is ruthless. SZA does this thing where she walks a line of bravado and poise. It’s just as visceral of a story telling as watching a movie is. Down to the hotel room to the brand of cologne but with such original word combinations describing things in ways that is so singular to her in that moment. A true capture of a place and time and feeling and memory. It’s like we are in her inner monologue with her working out a situation and dialogue in real time. 

Julia Michaels – ‘Worst In Me’
Julia Michaels injects cotton candy crack into her songs. She has these phrasings paired with melodies and vocal flippy jumpy acrobatics that are just so emotionally jarring that sometimes I find myself completely holding my breath. I can remember the first time I heard this song. I was driving back to my then partner’s house on the 134 in Los Angeles at night time and I just kept hitting repeat until I pulled into the driveway. And then I sat in the driveway just letting the lyrics wash over and over and over me in waves. Julia is just such a risk taker in her songwriting in a way that makes me feel like anything is possible. This song is again so simple in idea but speaking so directly to a moment where your worst moment and someone else’s worst moment continue a vicious cycle that is so difficult to break. You can feel how endlessly intoxicating the dance is here – the love is big enough to get back on the ride and think it’ll end different. 

Feist – ‘Love Who We Are Meant To’
This song is plain incredible. Coming to terms with love like this is so generous an offering. It feels as naked and romantic as it does severe and cutting and plain. There is an intentional wandering of the mind and a sort of grasping for logic as to why hearts do what they do, why we want what we want, why we have to decide to create and draw lessons from our experiences. Feist has a way of always comforting me in her wisdom and melodies, and I just love getting to understand the workings of the world through her lens.

Huge thanks to Madi Diaz for sharing her Five Favourites! Make sure you give Fatal Optimist a listen as soon as possible, and in the meantime watch the new video for beautiful album track ‘Why’d You Have To Bring Me Flowers’ below:

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INTERVIEW: Moonchild Sanelly

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

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

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

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

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

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

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

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

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

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

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

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


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

Mari Lane
@mari_getinherears

Photo Credit: Grace Pickering

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INTERVIEW: Eilis Frawley

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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