PLAYLIST: March 2026

The Get In Her Ears team have put together another eclectic mix of new music for your listening pleasure! Our March Playlist features post punk anthems, Riot Grrrl ragers, grunge, shoegaze & dream-pop musings, indie & alt-folk tunes and some electronic & experimental sounds. Scroll through our recommendations below!

In order to best support the female, LGBTQIA+ and non-binary artists that we love here at GIHE, we’ve moved away from using Spotify. We now have an account on TIDAL, so please follow us on there! 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!

CLICK HERE TO LISTEN ON TIDAL

 

VERO – ‘Dumb It’
Stockholm trio VERO have been firm favourites of mine since they released their debut LP, Unsoothing Interior, back in 2022. Fast forward two years, and they’ve shared a brand new equally as excellent record titled Razor Tongue. The band have retained their trademark sardonic lyrics and brooding riffs, but they deliver them with a potent new confidence, something which this track ‘Dumb It’ skilfully exudes. It was such a privilege to see them playing live at their debut London show at The Shacklewell Arms this week. You definitely missed out if you weren’t there.
(Kate Crudgington – Features Editor)

steel. – ‘Kismet’
Since being captivated by their swirling dark allure at Decolonise Fest last year, I’ve been a big fan of Liverpool post-punks steel., and I’d be surprised if you’re not a fan too after listening to new single ‘Kismet’. Instantly immersing you in their brooding majestic splendour, it showcases the band as purveyors of the most spellbinding of soundscapes. I cannot wait for steel. to play for us at The Great Escape on Saturday 16th May! They’ll be part of our showcase at The Beach Stage, along with other faves Problem Patterns, The Baby Seals, YAKKIE and Jessie Mac – keep your eyes peeled on our socials for more details.
(Mari Lane – Managing Editor)

Kathryn Mohr – ‘Doorway’
Taken from her second album, Carve, due on 17th April via The Flenser, Oakland-based artist Kathryn Mohr has provided another distinctively moody offering with this single. The lyrics to ‘Doorway’ were lifted from her own notebook, giving listeners a deep insight into her thoughts as she unravels them over restless, reverb-heavy riffs. Her upcoming record is a poignant reflection on the multi-faceted nature of memory, intimacy and isolation and how these things inform our understanding of ourselves over time. I can’t wait to hear it in full. (KC)

Upchuck – ‘Last Breath’
A track that lives up to its name! The urgency that underscores Upchuck’s latest single ‘Last Breath’ is palpable. It’s taken from their most recent album, I’m Nice Now, which smoulders with defiance and anarchic spirit. The Atlanta-based punk band will be returning to the UK in June this year to play gigs across the UK, including a headline show at Oslo in East London on 28th June. (KC)

CLT DRP – ‘What Is She For?’
A striking blend of jagged riffs, commanding beats and direct lyrics, Brighton-based art-punks CLT DRP have returned with this phenomenal new track. ‘What Is She For?’ dissects the notion of traditional gender roles and questions why these perspectives still haven’t shifted over time. “This single is a not-so-subtle protest to the endless requirements you have to meet as a DIY AFAB fronted band,” explains CLT DRP vocalist Annie Dorrett. Together with their bandmates, Annie is preparing to bring CLT DRP’s vital energy back to our eager ears with more new music in the very near future. (KC)

Lifeloose – ‘Lifeloose’
Described as “just two girls who want to let loose”, London-based experimental duo Lifeloose have sonically achieved just that on their debut self-titled single. Together Aldi Ho and Josie Silverman create playful, wonky electro-pop tunes shaped by their desire to overthrow their formal Guildhall Music School education and create their own sound. The result is an infectiously endearing blend of silliness and sincerity, all underscored by a really “good fucking beat”. (KC)

BIG|BRAVE – ‘the ineptitude for mutual discernment’
Capturing the complexity of how it feels to exist in the uncertainty of today’s world, acclaimed heavy trio BIG|BRAVE’s latest single is a disarming blend of gritty distortion and hypnotic vocals. ‘the ineptitude for mutual discernment’ is lifted from the band’s upcoming tenth album, in grief or in hope, which is set for release on 12th June. It’s a heavy record for heavy times, underscored by intense empathy and a desire to explore the binary oppositions of human nature. (KC)

Lauren Auder – ‘no outline’
Happy album release day to London-based composer and producer Lauren Auder! Today (27th March), she has shared her second LP, Whole World As Vigil, which this single ‘no outline’ features on. Described as “the most literal track on the record,” it was inspired by the overwhelming heartbreak Lauren endured whilst writing her new record. Her beautiful blend of tender keys, richly emotive vocals and electronic textures make for bittersweet listening. (KC)

Dose – ‘Chump Change’
I’m so pleased that Dublin four-piece Dose are back with new music! This single ‘Chump Change’ is a witty rumination on what it feels like to be left hollowed out by an unhealthy romantic connection. By deliberately incorporating elements of “slightly cheesy” rock and roll with their hazy dream-pop sounds, Dose make light of the uneasy feelings that inspired the tracks conception. ‘Chump Change’ is the first insight into what the band’s upcoming EP will sound like, due for release on Pizza Pizza Records this May. Check out the accompanying David Lynch-inspired video below, directed by guitarist & vocalist Lizzie Fitzpatrick and featuring bassist Lauren Heron. (KC)

deary – ‘Alma’
Following on from their gorgeous epic shoegaze single ‘Alfie’, London-based trio deary have shared another dreamy offering titled ‘Alma’. Lifted from the band’s upcoming debut album, Birding, which is set for release on 3rd April via Bella Union, ‘Alma’ is an airy blend of lush vocals and shimmering riffs, inspired by themes of growth, resilience and kindness. “I see ‘Alma’ as an embodiment of our band,” explains vocalist & guitarist Dottie. “It has been with us for a long time and changed with us along the way…In this song, I am talking to my younger self who made the decision to look after us and become a better person.” (KC)

Lemonade Sin – ‘Hold The Frame’
Ahead of the release of their upcoming third album, London-via-Devon supergroup Lemonade Sin have shared a dreamy new single. Reflecting on the dynamic between Baby and Johnny in the film Dirty Dancing, it ripples with a hazy Twin Peaks-reminiscent energy, as wispy vocals float over ethereal keys creating a blissful yet somewhat disconcerting soundscape. Nothing For A Pair, the new album from Lemonade Sin, is set for release on 17th April. (ML)

Misty Coast – ‘Spring’
Released to coincide with the Spring equinox, this aptly titled track from Norwegian duo Misty Coast is a breath of fresh air. ‘Spring’ is the third single the band have shared from their upcoming album, Always Sun, which is set for release on 24th April via Melodaze Records. Psychedelic riffs, soft vocals and field recordings of the duo’s winter stay in Tokyo permeate the track, providing listeners with a bright, lilting slice of psych-pop. ‘Spring’ is also accompanied by a DIY video, shot on location in Tokyo that you can watch below. (KC)

Gladie – ‘I Want That For You’
An exhilarating anthem inspired by friendship and self-compassion, ‘I Want That For You’ is the latest single from Philadelphia-based rockers Gladie. It’s taken from their recent album, No Need To Be Lonely, which they shared via Get Better Records earlier this month. Full of defiant lyrics and racing riffs, the track is a cathartic reflection on moving through times of struggle. Vocalist Augusta Koch explains the context further: “It kind of encapsulates to me the whole message of No Need To Be Lonely…I often think about how easy it is to see the beauty and wonderful qualities in someone else but how hard it is to apply that same love to yourself. ‘I Want That For You’ is basically about encouragement and wanting everyone to stick around, even when it’s really hard, including ourselves.” (KC)

IRKED – ‘Settle Down’
Described as “a garage-punk hate letter to the world,” North-East punks IRKED are gearing up to share their upcoming debut album, Grievance. Set for release on 1st May via Wrong Speed Records, it’s a deeply personal, visceral dismantling of the politics of gender, employment and class. On their latest single ‘Settle Down’, the band tackle the ingrained sexism that adds to the stresses of everyday life, that lead to women feeling exhausted and inadequate. (KC)

YAKKIE- ‘Lean Out’
Having been guests on our February Soho Radio show, and having blown us away with their immense live show on more than one occasion, epic supergroup YAKKIE have released one of the most powerful and resonant albums, not just of the year, but perhaps ever. Kill The Cop Inside Your Head really is a perfectly fierce and necessary catharsis for all women and marginalised communities, and comes complete with some of the most incredible, grunge-fuelled riffs you’ve ever heard. This track ‘Lean Out’ offers a seething retort against corporate feminism and how women’s labour has been historically undervalued, instead calling for real change which comes with community and collaboration, rising against the systems that oppress us. It’s now more important than ever to have bands like YAKKIE, not afraid to speak up for what’s right and use their platform as a real force for change. I’m extremely grateful they exist. (ML)

ScareBears – ‘Softboy Disco’
The second single from Bristol feminist punks ScareBears, ‘Softboy Disco’ explores themes of emotional manipulation and toxic masculinity as a seething sense of urgency and frenzied energy fizzes throughout. Another immense anthem from this supergroup of sorts (featuring members of The Menstrual Cramps and Mondo Wave), offering a scathing retort against that all-too-common ‘nice guy’ facade. We cannot wait for ScareBears to come and headline our next gig at The Cavendish Arms on 23rd April, with support from longtime faves Comic Sans and First Timers alumni Magpie Conspiracy (featuring Jemma Freeman). Tickets are on DICE now and cheaper in advance. (ML)

 

 

Gouge Away – ‘Figurine’
I still have Florida-based heavy band Gouge Away’s 2024 track ‘Stuck In A Dream’ embedded in my skull, but I’m glad to hear they’ve lost none of their potency on this new single. ‘Figurine’ is their first release on Run For Cover Records, and it’s inspired by vocalist Christina Michelle’s reflections on her childhood as a timid “people pleaser”. Full of her distinctive, dynamic vocals and the bands visceral beats and riffs, it’s a rallying cry for love and acceptance, whether you’re well behaved or not. (KC)

NEXT TO NADA – ‘Nan’s In a Punk Band’
London-based punks NEXT TO NADA are back with this excellently named new single. The band describe the track’s narrative as “the story of a punk band, a cannibal vicar and your nan,” which is set over fuzzy guitar riffs and off-kilter lyrics to create a devious slice of doom-pop. Recorded in a single day at Subfrantic Studios with Liam Gunning, the band used a myriad of equipment – including a Fender HodRod Deveille, an Ampeg SVT 3 Pro head and the legendary MIDAS H3000 analogue console – to bring their anarchic sounds to life. (KC)

The Empty Page – ‘A Feminine Ending’
Following impassioned recent single ‘Death On Our Side’ the latest single from long-time favourites, The Empty Page, offers a stark rejection of the beauty standards and expectations placed on women in a world largely dictated by the whims of problematic men. A searing critique of the patriarchy, the track seethes with the band’s trademark reverb-strewn hooks and fierce gritty energy. Kel from the band expands: “Women’s voices need to be louder than ever in 2026. Decades of progress driven by the feminist movement are in danger of being rapidly undone in a world of out-of-control male egos… it’s more significant than ever to criticise the pervasive and deeply concerning message that only young women are attractive, desirable, or of any value whatsoever.” (ML)

The Black Wizards – ‘Killing The Buzz’
New favourites for sure, Porto based trio The Black Wizards are storming into spring with their first new music since 2018. Propelled by relentless riffs and underscored by a fierce blues-driven groove, ‘Killing The Buzz’ offers a gloriously energised, yet impossibly cool, slice of rousing garage-rock. I can’t wait to hear more. (ML)

Black Water County – ‘People’
With the recent release of new EP, Second Best, Dorset folk-punks Black Water County trace a journey from individual alienation to a shared resistance, with each track on the collection exploring a different emotional response to the state of society right now, and ultimately celebrating the power of collective defiance. Whilst reflecting on the instinct to withdraw from the world when times are hard, focus track ‘People’ is propelled by lilting hooks and the fierce energy of front person Shan Byrom’s vocals, showcasing the band’s ability to fuse a resonant sense of rage together with their trademark uplifting spirit. An impassioned rallying cry to all who may be feeling demoralised by the world, Second Best offers a much-needed catharsis and message of hope at a time when we need it the most. The EP is out now via We Go To 11, the artist-lead sub-label of Trapped Animal Records. (ML)

Frances Murray – ‘The Woods’
Simmering with a slow-burning anger, ‘The Woods’ is the latest single from Essex-born, Brighton-based musician and producer Frances Murray (fka BLAB). Taken from her upcoming debut solo album, Dreamer, which she’ll be self-releasing on 10th April, the track begins with her deceptively steady vocals, but builds to an agitated chorus that bitterly laments a lack of self-autonomy. (KC)

Alice Mary – ‘Spiral’
Having played live for us many moons ago, songwriter Alice Mary has now shared her first single in four years. Born from the isolation of the covid lockdowns and produced by Grace Banks (Marika Hackman, English Teacher), ‘Spiral’ offers a lilting yearning for connection, oozing a raw emotion and gritty musicality. Self-described by Mary as “slow-burn indie-rock for overthinkers”. (ML)

Eleanor Hooper – ‘Every Fibre Of Me Is You’
Independent artist Eleanor Hooper provides a poignant reflection on maternal experience on this tender track. Inspired by “the first moment of separation after exclusive breastfeeding,” Eleanor uses her beautifully layered vocals, folk influences and choral textures to give this encounter the resonance she deeply feels it deserves. ‘Every Fibre Of Me Is You’ is lifted from her debut EP, FIBRES, which is available to listen to online now. (KC)

Lemoncello – ‘Articulate Animal’
I had such a lovely conversation with Irish duo Lemoncello for The Line Of Best Fit back in 2024, so I’m pleased to see that they’re sharing new music again. Released via the esteemed Claddagh Records, this track ‘Articulate Animal’ is a song that truly “gets to the heart of things” with its gorgeous vocal floating over a hypnotic cello drone. It will be the opening track on Lemoncello’s upcoming new album, Perfect Place, due on 8th May. (KC)

Modern Woman – ‘Daniel’
Set to release their debut album in May, London art-rock band Modern Woman offer an immersive, ethereal splendour with latest single ‘Daniel’. Written whilst songwriter Sophie Harris was camping near a lake in Wales, it captures the sparkling sense of calm and pastoral majesty that can be felt in nature; a raw and intimate moment amongst the quirky energy of some of the band’s other, livelier tracks. Johnny’s Dreamworld, the upcoming debut album from Modern Woman, is out on 1st May via One Little Independent Records. (ML)

Ailsa Tully – ‘Womb Room’
Having been big fans of Welsh songwriter Ailsa Tully for many years now, the GIHE team were really pleased to hear that she released her debut album earlier this month. Written in the year following her father’s death from cancer, Womb Room offers an intimate exploration of grief; raw with emotion and rippling with a desperate sense of longing and melancholy throughout, the album also shimmers with moments of hope and the comfort that love can bring us. As Tully’s distinctive resonant vocals flow seamlessly, different sonic elements are interwoven into each song; from rich keys, soaring strings and Tully’s unique bass-playing technique, to natural field recordings and even snippets of her father playing piano (‘He’s Leaving’). It’s truly an exquisite collection; a poignant and heartfelt reflection on grief and the search for a sense of belonging that can follow. An eclectic tapestry of soundscapes, each beautifully stirring in its own right. Womb Room, the debut album from Ailsa Tully, is out now. (ML)

ESYA ft. Jessy Lanza – ‘Chasing Desire’
‘Chasing Desire’ is the eponymous track from ESYA’s upcoming debut album, which is set for release on 10th April via AOK records. The solo project of Ayse Hassan (Savages, Kite Base, 180db) ESYA’s latest release features the sounds of Canadian Hyperdub artist Jessy Lanza. It’s another experimental, lilting soundscape from an artist who is committed to exploring all aspects of her sound. ESYA wants to encourage others to do the same and “demystify” the process of making electronic music by hosting Chasing Desire interactive exhibitions in London, Glasgow and Bristol in the lead up to the release. She will be at eARTH Space on Hoxton Street in London between 10th-12th April. More details here. (KC)

Gabi Garbutt ft. Jemma Freeman – ‘Radical Love’
Set to release their third album later this year, London artist Gabi Garbutt has now shared the first taste of what to expect. Featuring GIHE fave Jemma Freeman on backing vocals, guitars and synths, ‘Radical Love’ was initially inspired by writer/activist Sara Ahmed’s notion of ‘Queer Phenomenology’, as well as essays by legends such as Audre Lorde and Martin Luther King, and offers an empowering and uplifting anthem. Of the track, Garbutt explains – “[this song explores] how a radical love is urgently needed to face a world falling apart with humanitarian crisis and climate crisis.” (ML)

th’sheridans’ – ‘Painted’
After more than a decade creating music together, London-based band Adam Karenina Sherif and Julia Oertli aka th’sheridans returned to our ears with brand new music this month. Self-described as “blonking through the dystopia as best we know how”, they remain the perfect purveyors of scuzzy indie-pop; interweaving poignant issues whilst oozing an uplifting effervescent euphoria. Originally recorded back in 2023 and completely mixed and mastered by the band, new single ‘Painted’ offers a stirring resonance for right now, showcasing the band’s ability to create a sparkling sense of hope despite our fears and frustrations. ‘Painted’ is accompanied by an unlikely cover of Carly Rae Jepsen’s ‘Emotion’ as a virtual b-side. Originally commissioned by some friends to arrange the song for a wedding, the duo felt it thematically complemented their new single perfectly: whilst ‘Painted’ is rooted in reality as they experience it, ‘Emotion’ is about everything they could be doing if things were different. (ML)

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PLAYLIST: October 2025

The Get In Her Ears team have put together another eclectic mix of alt-pop & indie gems, reverb-drenched guitar tunes, DIY punk bangers, electronic musings & intriguing experimental sounds 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! 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!

CLICK HERE TO LISTEN ON TIDAL

 

ARXX – ‘W.I.P’
GIHE are always excited when total faves ARXX share a new tune and the latest offering from the Brighton duo feels particularly special. With a gloriously catchy, country-inspired energy, ‘Work In Progress’ (WIP) offers a rousing, empowering anthem; a comforting acknowledgement that we still have a way to go, a subtle reassurance that it’s ok to have imperfections: “It’s about trying. It’s about getting it wrong and getting it right but finding the beauty in the process.”

Another instant earworm from Hanni and Clara, the release coincides with the band being featured on the soundtrack to the new Sally Wainwright drama Riot Women. It’s certainly an exciting time to be an ARXX fan and they truly deserve every bit of success that comes their way. They’re one of the hardest-working, and most lovely bands in the world.
(Mari Lane – Managing Editor)

Beauty Sleep – ‘You (You’re All I Wanted)’
Following the release of their glistening debut album, The Whole Damn Cake, Northern Irish radical alt-pop duo Beauty Sleep have shared a wonderfully euphoric new single. Shimmering with all the lo-fi hooks and scuzzy uplifting energy you could ever desire, ‘You (You’re All I Wanted)’ is “a love letter to failing and not giving up” – a perfect example of the empowering queer spirit of the band. Watch the wonderfully wacky video below and make sure you nab tickets to catch Beauty Sleep headlining for us at The Cavendish Arms on 27th November! With support from glitch-pop faves Dream Phone and pioneering songwriter Lein Sangster, it promises to be a pretty dreamy night. Tickets on DICE now and are always cheaper in advance. (ML)

congratulations – ‘This Life’
Full of chaotic tempo shifts, cathartic beats and relatable lyrics, ‘This Life’ by Brighton-based four-piece congratulations is a much needed distraction from the monotonous nature of the everyday routine. It’s taken from their debut album, Join Hands, which is due on 13th February 2026 via Bella Union. The band describe it as “a bombastic ode to first world problems and that feeling of losing at life before you’ve ever gotten out of bed.”
(Kate Crudgington – Features Editor)

Lala Lala – ‘Does This Go Faster?’
Having just signed to legendary label Sub-Pop, Lillie West aka Lala Lala has now shared a sparkling, synth-driven new single. Drenched in West’s rich, syrupy vocals and twinkling hooks, ‘Does This Go Faster?’ is steeped in a raw, stripped-back emotion as it flows with beautifully existential meanderings. (ML)

Marina Yozora – ‘Touché’
I was so pleased to discover this tender dream-pop tune by Japanese-born, London-based songwriter Marina Yozora in my GIHE inbox earlier this month. She describes ‘Touché’ as a “love letter” to her friends and fans, which she softly communicates through her delicate vocals, emotive lyrics and atmospheric guitar tones. I’m really excited to hear more new music from her in the future. (KC)

Jouska – ‘California’
Another graceful, shape-shifting offering from Norwegian songwriter and producer Jouska here, lifted from her recent album, How Did I Wind Up Here? ‘California’ is a hazy reflection on her first visit to Los Angeles and “finding calm in unexpected places”, which she explores through her lilting melodies, soft vocals and bittersweet lyrics. “I have a complicated relationship with the U.S.A, especially now,” Jouska elaborates. “There’s so much about it that I find difficult and a lot I still don’t fully understand. But that first visit stayed with me. It gave me space when I had nothing left to give, a strange kind of calm in the middle of everything falling apart.” (KC)

skullcrusher – ‘dragon’
Another disarming, wistful release from American indie artist skullcrusher here. Taken from her new album, And Your Song Is Like A Circle, ‘dragon’ is a song about disassociation and how, as skullcrusher so eloquently explains: “It is a heavy thing to feel the weight of living and pull yourself back to earth.” (KC)

Dogviolet – ‘Now’
The latest single from long time GIHE faves Dogviolet, who were one of the eight bands who played our 10th Birthday all-dayer at The Cavendish Arms last month. The dreamiest of days! Talking of dreamy, this new single showcases the band’s ability to create utterly dreamy soundscapes as its swirling dark majesty caresses the ears with a soaring, gritty splendour. Of the track, Naz from the band explains: “This song is about feeling so consumed by thoughts of the past and the future that you’re unable to move forward with your life, mentally trapped in a cycle of regret and nostalgia.” (ML)

Talking Violet – ‘Destroy’
Having been big fans of Talking Violet since first coming across their immersive “dreamo” sound back in 2018, the Ontario band have since been making waves and garnering acclaim for two sonically expansive albums, and it’s lovely to have another gorgeous track of theirs back in our ears. Rippling with a swirling, shoegaze-tinged allure and shimmering haze, ‘Destroy’ offers an stirring reflection on loss and acceptance. Of the track, songwriter and vocalist Jillian Goyeau explains: “(it’s) about closing a chapter in my life…before moving on I kinda needed to say goodbye…It’s me finally accepting that people can both love you and hurt you at the same time and vice versa.” (ML)

Red Ivory – ‘Crashing Down’
South London four-piece Red Ivory are new to team GIHE, but we’re already big fans of their brooding, distorted sound. Band members Eiliyah, Berry, Frida and Ivy began playing together in 2021 aged fourteen in their secondary school music rooms. Since then, they’ve been honing their skills and developing their songwriting, which has resulted in their upcoming EP, Please Leave, I Need To Wake Up Now, due on 28th November. ‘Crashing Down’ is the opening track on the record and it’s a dizzying reflection on the heightened state of anxiety that can arise when you’re under the influence. (KC)

THE NONE – ‘Pigs Need Feeding’
On one of our recent Soho Radio shows, I declared that punk-inspired four piece THE NONE were one of “the best live bands I’ve ever seen” and I stand by that statement. Kai Whyte is a formidable front person, backed by the cacophonous, momentous sounds of their talented bandmates Gordon Moakes, Jim Beck and Chris Francombe.

The band recently pressed their first two EPs, MATTER AND CARE, to vinyl and released them through Zennor Records. ‘Pigs Need Feeding’ is one of my favourite tracks, full of Kai’s raging reflections on their conflicting feelings about self-intoxication. “I was feeling some sort of shame about my vices, but it was juxtaposed with the knowledge that actual killers don’t feel any,” Kai explains. “I like a drink, but there are certain powerful people and organisations literally arming terror states that kill kids. Maybe I’m not the scumbag.” (KC)

Pinkshift – ‘Authority Problem’
Following gritty recent single ‘Vacant’ back in July, Maryland punk-rockers Pinkshift are back with the fierce, raging energy of ‘Authority Problem’. Propelled by an immense seething power and the raw searing force of front-person Ashrita Kumar’s vocals, it’s a perfect anti-establishment anthem: “”Fuck ICE, fuck the left and the right, fuck the false decorum of rules and laws and executive orders just created to make people feel small and helpless. Only I know who I am, and if you disrespect me then I don’t care, you’ll feel my wrath,” (ML)

Hadda Be – ‘New To The Office’
A gloriously scuzzy new single from south London band Hadda Be, ‘New To The Office’ offers an all-too relatable reflection on the anxious hallucinations of a Sunday night fever dream. It was recorded by Andy Ramsay of Stereolab and offers a gritty taste of what to expect from their upcoming second album. (ML)

Gravey – ‘Blessed With’
Following a five year hiatus, South London duo Soraya Fernandez and Nick White aka Gravey have now joined forces with bassist Myles Morgan and drummer Jonny Jurassic for an epic return to form. Reflecting on the complications and unpredictability of love, ‘Blessed With’ combines a dark, immersive groove with a raw punk-tinged passion. (ML)

Breakup Haircut – ‘I’m Okay (I Lied)’
Having been big faves since they formed at First Timers Fest many years ago, Breakup Haircut played for us at New River Studios recently supporting Strange New Places and – despite being a person down, as Ishani had hurt their ear the day before – Ripley, Delphine & Jordan still managed to put on an absolutely fantastic show! Their brand new single ‘I’m Okay (I Lied)’ is a perfectly catchy slice of punk-pop that comes ahead of their upcoming second album, No Worries If Not, out on 28th November via INH Records. (ML)

No Other News – ‘Flowers’
I was pleased to find a lovely email from Laura, vocalist & bassist of Italian indie-pop trio No Other News, in my GIHE inbox earlier this month. Based in Milan, the band – whose name is a reference to a line from the acclaimed film, The Banshees of Inisherin – write songs that are inspired by “universal themes like insomnia, awkward tenderness, and using someone else’s toothbrush to clean the kitchen sink.” I love the juxtaposition of bittersweet lyrics and playful indie melodies on this single ‘Flowers’. (KC)

 

Wax Jaw – ‘Creepshow’
Philadelphia five-piece Wax Jaw create emotionally charged guitar tunes that purge suffering and express joy simultaneously, and this track ‘Creepshow’ is the epitome of that ethos. It’s taken from their debut album, It Takes Guts!, which the band released via Born Loser Records earlier this month. The band revel in the duplicitous nature of life, love, politics and sexuality, playfully reminding listeners that “the horrors persist, but so do we!” (KC)

CHERYM ft. Uninvited – ‘Sofa Bed’
A cute, queer collaboration between Derry stars CHERYM and new upcoming band Univited, ‘Sofa Bed’ offers a fizzing reflection on coming to realise you may have romantic feelings for someone you consider a close friend; a catchy sapphic anthem, interweaving sugar-sweet vocals and a fresh, punk-pop energy.

Of the collaboration, CHERYM share: “We’re both not ashamed to admit losing hours of our lives sat in front of the TV watching Kerrang! in the early 2000s. It’s safe to say we knew quite early on the exact type of collaboration we wanted to make and saw it as an opportunity to create something that would make our younger selves feel seen and valued. It’s McBusted but more homoerotic and way better looking.” (ML)

Charley Stone – ‘I’ve Gotta Know’
The first of three new songs recorded with The Actual Band, ‘I’ve Gotta Know’ showcases the endearing vulnerability and playful lilting energy of Charley Stone. Taking the listener on a journey through the emotional states of a hopeless romantic caught up in a situationship, it’s another example of Stone’s ability to craft a perfectly catchy indie-pop ditty. (ML)

Rival Queens – ‘Time Goes By’
Following grunge-tinged singles ‘Not Your Enemy’ and ‘Right Now’ earlier this year, London based artist Sally-Anne Hickman aka Rival Queens is back with a reflective new single to celebrate the release of her debut solo EP, Crown and Conquer. A stirring rumination on moments we can never reclaim, it slows with a haunting melancholy with scuzzy shades of the likes of Dum Dum Girls. (ML)

Francis Of Delirium – ‘Little Black Dress’
Luxembourg songwriter Jana Bahrich aka Francis of Delirium is back with this infectious new single, ‘Little Black Dress’, released to coincide with the end of her EU tour supporting Blondshell. Inspired by the feeling of not having your expectations match your reality, the track is an angst-ridden offering that Jana wrote in the hopes that the urgency would translate when she’s on stage; giving her fans a chance to indulge in the messy, chaotic realm of desperation and disappointment with her. (KC)

The Pains Of Being Pure At Heart – ‘Kurt Cobain’s Cardigan’
Not only does this song have one of the best titles ever, it’s just super beautiful. As beautiful as one of Kurt’s cardies, in fact. Oozing a fuzzy, nostalgic energy, it encompasses the whirring stripped-back emotion that shines through whatever The Pains Of Being Pure At Heart create. They explain: “We probably would have never gotten into the things we love if it wasn’t for Kurt telling all his 13 year old fans to ‘go check out The Vaselines, Beat Happening, and Teenage Fanclub’ – bands that have a pretty different sound to Nirvana, but shared a similar spirit.” (ML)

PINS – ‘I’ll Be Yours’
Manchester post-punk outfit PINS have returned with ‘I’ll Be Yours’, a gritty new offering inspired by the early emotions of falling in love and the expectations placed on women’s roles within romantic relationships. Vocalist Faith Vern considers ‘I’ll Be Yours’ to be one of the most “tender” tracks she’s written for PINS to date, but it still smoulders with the band’s trademark shadowy post-punk sensibilities. (KC)

Ezra Furman – ‘One Hand Free’
Taken from the same studio sessions as Goodbye Small Head, Ezra Furman’s acclaimed tenth album released earlier this year, ‘One Hand Free’ is her new standalone single. Flowing with twinkling keys and the distinctive raw emotion of Furman’s vocals, it offers a deceptively jaunty reflection on “feeling so bad you’re not sure what species you even belong to anymore.” A self-described slice of “loser-core kill-shot”, it showcases all the quirky spirit and strangely uplifting grace we know and love from the innovative artist. (ML)

Coral – ‘Garden’
Swedish songwriter Miranda Engholm aka Coral has returned with this bittersweet track inspired by feelings of disappointment and loneliness. ‘Garden’ is the first taste of what her upcoming new album will sound like, which is set for release in the Spring of 2026. Through her gentle indie-pop melodies and earnest lyrics, Coral gently dismantles her feelings and tries to make peace with the idea of “playing in the garden but without all of your friends.” (KC)

Ailbhe Reddy – ‘Align’
I’m so pleased that Dublin-born songwriter Ailbhe Reddy is back with new music! ‘Align’ is the first single from her forthcoming album, which is due in early 2026 on her new label Don Giovanni Records. I loved her previous albums, Personal History and Endless Affair, so I’m looking forward to hearing more from her in the near future. For now though, I’m content to listen to ‘Align’ on a loop. It’s a lilting, compassionate reflection on a big breakup, tentatively tracing how memories and emotions shift and soften over time. (KC)

feeo – ‘The Hammer Strikes The Bell’
Lifted from her debut album, Goodness, released via AD 93 earlier this month, I’m transfixed by this track from London experimental artist feeo. She describes her album as “an exploration of simultaneous yet opposing states of being; darkness and lightness, obscurity and visibility and most fundamentally, solitude and togetherness” – something which is epitomised on ‘The Hammer Strikes The Bell’. Her calm, meditative voice and mixture of ambient & experimental sounds is strangely soothing here. (KC)

Hannah Schneider – ‘Lighthouse’
One half of acclaimed electronic duo AyOwA, Copenhagen-based artist Hannah Schneider is now set to release an innovative solo album early next year. Rejecting the use of AI in music, she recorded the record together with other musicians at a residency at the historical Thorvaldsens Museum. The first taste of the new album, ‘Lighthouse’ offers a glitchy soundscape, interweaving sparkling layers of sound alongside Schneider’s beautifully rich Beth Gibbons-reminiscent vocals. (ML)

Hilary Woods – ‘Taper’
An airy, shape-shifting soundscape that stirs the senses, ‘Taper’ beautifully showcases the versatile songwriting of Irish artist & composer Hilary Woods. Lifted from her upcoming new album, Night CRIÚ, which is set for release on 31st October via Sacred Bones (one of my favourite record labels), Hilary says ‘Taper’ is “a song that honours a presence to one that is absent. A love song that only a children’s choir could express fully.” Retaining her experimental spirit, but also seeing her return to a more song-based structure, Night CRIÚ is centered around Hilary’s vocals, which act as threads of connection to the past and the present. (KC)

Penelope Trappes – ‘The Mercy of The Hagetisse’
This slow-burning, haunting lament from the marvellous Penelope Trappes is the perfect soundtrack for a gloomy Halloween night. After sharing her poignant album, A Requiem, earlier this year, the Brighton-based Australian artist is set to share a companion piece, titled Æternum, on 31st October via One Little Independent Records. ‘The Mercy of The Hagetisse’ features on Penelope’s new record, which she summoned from a place of grief and intense emotional vulnerability. Throughout the track, Penelope explores the compassion and the cruelty of Hagetisse – a witch, seer, or hag in Old Dutch folklore – through her melancholic vocals, un-nerving electronic textures and steady, somber beats. (KC)

CLICK HERE TO LISTEN THE PLAYLIST ON TIDAL

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

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

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

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

Listen back to the show below:

 

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

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

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