INTERVIEW: Jasmine.4.t

Having just released her exquisite debut album, You Are The Morning, Manchester-based trans artist jasmine.4.t not only featured as one of our own ‘Ones To Watch’ for 2025, but has been receiving tonnes of acclaim over the last few months from publications such as Pitchfork and The Line Of Best Fit, with her latest single ‘Guy Fawkes Tesco Dissociation’ being featured on BBC 6Music’s A List. With the album released via Phoebe Bridgers’ record label, Saddest Factory, it reflects on both the camaraderie and isolation that can be a part of transfeminine life with a stirring glistening emotion. A heartfelt ode to queer friendship, it sparkles with a truly captivating majesty throughout. Whilst it may still only be January, it’s already a definite contender for album of the year.

After catching Jasmine and her band’s stunningly moving performance at The Old Blue Last a couple of weeks back, we were able to have a chat with her about the album, her inspirations and the challenges facing trans artists in the industry, and society in general. Have a read, make sure you check out the album now, and also please consider donating to the Solidarity Fund she mentions at the end of the interview.

Hi Jasmine! Welcome to Get In Her Ears! How are you doing today?
Hi! Thank you! I am very sleepy after getting up at 3:45am to fly to the Netherlands for some shows, but super excited about all that’s going on with my album coming out and the reception it’s receiving. I’m currently on my way to Groningen with my bandmates Eden and Emily, and we are all buzzing.  

Are you able to tell us a bit about what initially inspired you to start creating music?
My uncle left me his guitar when he sadly died by suicide when I was in year two. My dad got me some chord books and I loved learning Jimi Hendrix as a kid. I heard Elliott Smith’s From A Basement On A Hill when I was a teenager, and I deep-dived into his catalogue – my dad borrowed all his CDs from the library and copied them for me. I did the same thing with Iron & Wine. I always wrote alongside learning other people’s songs, and I played in various grunge and punk bands.

I love the glistening energy and raw emotion of your songs, but who would you consider to be your main musical influences?
Elliott Smith and Iron & Wine as I’ve mentioned are big influences, but I think my main influence is Adrianne Lenker. I love her writing, her voice and, in particular, her guitar playing. I am listening to her Instrumentals album right now, it’s my favourite!

You’ve just released your debut album You Are The Morning, which is super exciting! The album reflects on feelings of queer belonging, love and connection, particularly within the trans community – are you able to tell us a bit more about the themes that run through it and the experiences that inspired it?
You Are The Morning is a message of queer hope and solidarity. The songs were written shortly after I came out to those around me, which didn’t go so well. My marriage ended, I tried to move back in with my parents, and when that failed I was homeless for a period. I left Bristol to stay with friends in Manchester where I found community. I fell in love with trans people and met my chosen family, who gave me the strength I needed to start my transition. You Are The Morning is about queer people’s capacity for solidarity but also for change, how we change ourselves and the world around us to bring a brighter future. 

The album’s being released on Phoebe Bridgers’ record label Saddest Factory Records, which is awesome! How did this come about, and what does it mean to you to have been able to work with someone like Bridgers?
I opened for Lucy Dacus in Bristol on her first Europe tour, and we got on really well. She invited me to be tour support for her second album (Historian) tour in Europe – around when my debut EP came out – and we became close and stayed in touch, sharing demos through lockdown. When I got the demos together for the record, I was considering self-releasing, but Joe Sherrin (MOULD/SLONK/Fenne Lily) suggested I submit them to Phoebe Bridgers for Saddest Factory consideration. I didn’t hear back immediately, so I asked Lucy to play the songs to Phoebe if the moment presented itself. I heard back a few months later from Lucy that she had played the songs to Phoebe in the car, and Phoebe was on the phone to her manager discussing signing me! I couldn’t believe it. I opened for boygenius when they came to the UK, and the next day I signed with Saddest Factory. All three members of the band – Lucy, Phoebe and Julien – produced the record. It was a dream come true for me, I’m such a huge fan of theirs, as a band and as solo artists. I feel so lucky. 

And, to record the album, you travelled over to the US to record at the legendary Sound City Studios! How was this experience for you?
Yeah, it was unreal! We had such a good time. I made this band of entirely trans women in Manchester and the label flew me and two of my bandmates – Eden O’Brien and Phoenix Rousiamanis – out to LA. We recorded over two very intensive weeks in that iconic studio. It was such a healing experience, it felt like the hope I wrote into the album the year before was not in vain, because this was on its way. 

I was lucky enough to catch you and your wonderful band live last week at The Old Blue Last – such a beautifully immersive and moving set, thank you. How do you generally prepare for live shows, and what do you enjoy most about them?
Thank you! It was such a nice crowd and my first time playing at that venue. I had such a good time. Travelling as a band of trans women can be stressful at best and dangerous at worst – so before shows we try to relax and hang out together to get in the mindset to perform. The girls are all unbelievably funny, and we don’t take it too seriously. But we know, should anything happen, we have each others backs. Usually, my chosen daughter Yulia Trot comes on the road with us, and her main job is to keep us all safe. Horrifyingly, she has been wrongly imprisoned for her alleged part in dismantling an Israeli weapons factory, on remand until her trial in a year. It is scary going into this year of intense touring without her, but me and the girls are a family and we take care of each other. Hanging with the girls is definitely the best part of playing live. 

Has there been a particular gig you’ve played over the years that stands out as a highlight?
I think my favourite ever show was when we played in the basement of a community favourite pub in Manchester, The Peer Hat. It was for a night that me and some friends organised for the Just Do The Thing transfem meet-up. It was so awesome to play a night of all transfem artists for a majority transfem audience in a packed sweaty basement. 

And, when you’re out on tour, or playing shows, are there any particular essentials that you like to take with you to keep you going?
I always wear my bracelets from my long-distance partners to remind me of their love and support. I always wear at least one Adrianne Lenker hoodie (I’m wearing two right now). I usually take some time before shows to relax and listen to some Adrianne Lenker also.

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?
It’s a pretty shit time to be a trans woman in this country. It’s very unsafe; we are constant targets of violence and harassment, besides the common experiences of homelessness and mental health issues caused by continued interaction with systemic transphobia. We have seen the rise of TERFism, a transphobic brand of fascism perpetuated by figures – including JK Rowling – which has led to a huge backslide in trans access to healthcare. This has been compounded by scare tactics in papers – including The Guardian – when reporting about trans healthcare. Recently, Wes Streeting banned the use of life-saving puberty blockers for trans children, when suicide rates for this demographic are extremely high and rising, while our community mourns the highest recorded rate of violent deaths of trans people. This is the backdrop against which we are trying to make our way as artists. I have been lucky enough to have an incredible manager, Jen Long, who has helped keep me safe and I’m surrounded by people I trust. I have a mostly female and largely queer team. But this industry is very male-dominated at all levels, and from my experience pre-signing, trying to navigate it alone, we trans women encounter friction at every turn. Compounded by the everyday shit that trans women have to deal with, it’s no wonder we are so underrepresented in this industry and in society at large. This has intersections with disability rights and racial injustice – those of us who do break through are almost always white and abled. I am disabled (by society’s failure to meet my ME and POTS related needs), though I pass as abled and I think without Phoebe’s seal of approval and without my white and abled-passing privilege, I would still be struggling to get shows. I think a lot of these issues go beyond the struggle for trans women’s equality in the music industry, but it is just societal ills at work and it affects all of us. I think things are definitely improving at a grassroots level, and I definitely feel cared for by the venues I play, but there’s only so much that small venues, indie labels and promoters can do.

And are there any other new artists that you’d recommend we check out at the moment?
My favourite band from Manchester is Ether Mech. They’re fronted by my friend Vivian, a trans woman I look up to and one of the first people I met when I moved to Manchester. I also love Mould, their new stuff is incredible and they’re so good live. I really enjoyed The Pill and Fuzz Lightyear’s sets at the Old Blue Last show also!

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I’m really looking forward to touring this year but I am feeling worried about doing it without my daughter Yulia. If anyone is able to, please donate to her Solidarity Fund to help us support her in prison, visit her, and help her get back on her feet when she is out. You can donate here.

Huge thanks to Jasmine for answering our questions, and please do consider donating to help Yulia.


You Are The Morning, the debut album from Jasmine.4.t is out now via Saddest Factory Records. Listen / buy now.

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Five Favourites: Fightmilk


We make no secret of our super fandom of Fightmilk here at Get In Her Ears. We’ve been following them since they first played live for us back in 2018, and now – after having had the honour of them headlining many more of our gigs, and being obsessed with their albums Not With That Attitude and Contender, our fandom has only continued to grow with the recent release of their new album No Souvenirs. Reflecting on themes of getting older, particularly as a woman in music, the album exquisitely showcases Fightmilk’s ability to hone their sound, creating perfect punk-pop; angsty and uplifting in equal measure. Instantly catchy singalong anthems, combining the band’s trademark tongue-in-cheek wit with a swirling energy and gritty raw emotion. From fuzzy sentimentality to fierce tirades against patriarchal society, No Souvenirs is a perfect culmination of how Fightmilk have continued to refine their sound. With shades of noughties punk-pop, combined with an injection of fresh queer joy and raging emotion, it’s at once cathartic, validating and empowering. But, most importantly, fun. A sound that’s uniquely Fightmilk; truly distinctive in its colourful charisma, but consistently evolving into something more. 

We think one of the best ways to get to know a band is by asking what music inspires them. So, following the release of No Souvenirs, we caught up with Lily, Nick, Alex and Healey to find out about the five albums that inspired the writing of the new album the most. Read about their five favourites, listen to the No Souvenirs on repeat, get tickets to see them live and watch the wonderfully DIY new video for latest single ‘Yearning and Pining‘ below:

Band pick:

Jimmy Eat World – Bleed American
We all collectively, coincidentally, fell back in love with this album HARD at around the same time. It’s such a perfect cocktail of anger, positivity, self-reflection and FUN. It’s obviously also catchy as hell. The timing of our obsession coincided with Lily sending us a demo of the song ‘No Souvenirs’, which we definitely made a conscious effort of melding into something that could sit alongside those J.E.W songs. By the time we’d recorded the title track, we even learned ‘A Praise Chorus’ for a couple of shows in 2023, though damned if we can remember how to play it now.

Lily:

Olivia Rodrigo – Sour / GUTS
My name is Lily and I’m a sucker for a Gen-Z Disney star. Olivia Rodrigo’s songwriting is phenomenal. She is so self-aware, so funny, and so brutally (ha) honest – a lot of comparable artists who write music on themes of anxiety and awkwardness feel focus-grouped to death by people who haven’t been teenagers for a long time, or they bottle a feeling at the last minute and turn it into self-deprecation, but her songs feel like they’ve come straight from her diary. Lines like “I hope you’re happy, but don’t be happier” are such an economical, Ronseal way of articulating such a big, messy feeling – it’s such a skill to reduce all those complex emotions into one line. It’s very much the Kirsty MacColl/Alanis Morrissette school of ‘stuff I wish I’d said’. Sour was my big album for No Souvenirs, but I’m so glad we got GUTS halfway through recording too. I wrote ‘Summer Bodies’ before I’d heard ‘Pretty Isn’t Pretty’, which is one of my favourite songs on GUTS, and felt so much that it was written with the same exhaustion. I felt very seen: “I could change up my body and change up my face/I could try every lipstick in every shade”. I also love that during a time where guitar music is incredibly uncool, Olivia Rodrigo has released two big grungy rock albums. We have so much in common…


Nick:

Press Club – Late Teens
I absolutely love everything about this album. The aggression, speed & ferocity of it; the blown out vocals and the sparing way it was recorded, which is really no frills and designed to capture the rawness of a live show (I read somewhere that Nat does her vocals in the booth DURING the instrument takes, which is insane to me), and of course Frank’s drumming, which is fast and nuanced without being overtly flashy. There’s always a danger in this genre that you’re going to over-complicate stuff and have one instrument’s role overshadow the others, but the balance is right on this, and it was a wake up call to keep things simple – both in terms of our individual roles, and production, with No Souvenirs.


Alex:

Eiko Ishibashi – Drive My Car (Original Soundtrack)
The words and music on No Souvenirs are as accurate as you can get to the constant screaming static in our heads, as the four of us left the lockdown era, and tried to remember how to exist in the world, let alone be a band again. In the face of that chaos, the delicate arrangements and kinetic calm of Eiko Ishibashi’s Drive My Car score were my actual soundtrack to the period – a 45 minute gap in time where I could shut out the outside world and pretend it wasn’t going to come roaring back at me once the album finished. If you can’t hear that influence on our record, fair enough! But I’d be lying if I said it didn’t find a way in there somewhere.


Healey:

Lucy Dacus – Home Video
The early summer of 2021 was a super strange time, we were coming out of lockdown and all COVID restrictions were being removed but everything still felt scary and weird. Like Lucy Dacus we’d just put out an album, but we had no way of touring it yet and had sat on the songs for longer than expected. I went for lots of contemplative walks by myself round Peckham and I’d mainly just listen to Home Video and voice note demos Lily had sent to the band group chat. I got obsessed with this one early demo called ‘Swimming Pool’ – it’s a quiet song with just an acoustic guitar and double tracked vocals. It’s sparse, vulnerable and reflective. It caused the same gut reaction I get when I listen to Dacus’ music, a homesick nostalgic pang mixed with a dose of teenage embarrassment. While the title and some of its lyrics have changed, the core emotion is still there and I think Home Video was a huge influence on letting that track gently build to an eruption of fireworks at the end.


Massive thanks to Lily, Nick, Alex and Healey for sharing their favourite album choices with us! Watch the gloriously DIY video for ‘Yearning and Pining’ here:


No Souvenirs, the new album from Fightmilk, is out now via Fika Recordings and INH Records. They’re currently out on tour – very limited tickets left, but you may be able to find some here.

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LIVE: Kae Tempest – Pitchfork Festival, KOKO Camden (05.11.2024)

Whilst other people were out in the cold watching explosions in the sky, on the evening of Tuesday 5th November I was lucky enough to be inside the warmth of legendary Camden venue KOKO having my mind blown and my heart set alight by the incredible Kae Tempest, who delivered a performance that was brighter and more powerful than any firework. 

A night of live music forming part of London’s Pitchfork Music Festival, I arrive in time to catch an uplifting set from Sam Morton. Oozing a soulful ethereal splendour, the actress-turned-musician delivers stirring genre-defying soundscapes, fusing together elements of jazz, reggae and electro, each rippling with a glitchy immersive allure.

Sharing that the last time they were here was fifteen years ago on their dad’s 60th birthday, Kae Tempest takes to the stage and instantly I sense a shift in their presence, a change from the other times I’ve seen them live over the years; a subtle, genuine joy and sense of ease emanates. And, before they have even said any more, it’s clear how much it means to them to be able to be here, to be able to be truly themselves, and share that with us. “This feels really special”, they say before they give a short introduction to the set, explaining that they’re going to be performing songs from the last ten years, and not be talking between songs “because that cringes me out.” Beaming as the crowd laughs and cheers, Tempest seems to be soaking up every moment: “Nothing stays still, it’s always in transition. But I still have the same feeling in my heart to connect.” And so begins 75 of the most fiercely moving, cathartic and joyous minutes; every single second pulsating with resonance and pride.  

Kicking off with ‘Tunnel Vision’, the closing track from 2016’s Let Them Eat Chaos, Tempest immediately casts their immersive spell over a completely captivated audience; the poignant and stirring social commentary of their poetic lyricism hitting more profoundly than ever before. As the glitchy energy of The Line Is A Curve’s ‘Salt Coast’ is accompanied by glistening visuals, it’s hard not to fall into a strangely comforting hypnotic state, transfixed by the sparkling resonance of the subtle emotive power rippling from the stage, which is only further amplified by the fierce joy that radiates throughout 2023’s ‘Love Harder’ – “… Correcting my pronouns to they/them, but he/him is also pretty fucking cool!” 

This powerful euphoria fizzes throughout the whole performance; the immense cathartic sense of relief Tempest feels at being able to be themselves and the resulting heightened confidence is so wonderfully evident, and the happiness they feel resonates into the crowd, creating a unified queer joy and empowering sense of hope. 

Flowing through a couple more tracks from their 2022 album, Kae Tempest’s glaringly honest and completely relevant social commentary is showcased with heartwarming clarity as the prowess of their band provides a beautifully enchanting musical backdrop for their stirring narratives. Then, following the sparkling romanticism and raw emotion of 2019’s ‘Firesmoke’, we’re lucky enough to be treated to two brand new songs. With one song featuring a recording of Tempest at 17, and another with an all-too poignant refrain – “… They used to tell their children not to stare, but when I’m dead they’ll put my statue in the square…”  – a stark awareness of the injustices of society and the struggles that they have dealt with throughout their life simmers under the surface of their fierce empowering energy and gloriously discernible love for themselves. 

And I feel honoured to be here, to be sharing this experience with Kae Tempest; for them to feel able to be so open and honest with us. Going on to explain how they have always had a complex relationship with the stage, and how they used to feel deeply uncomfortable, it really is wonderful to hear that it doesn’t feel like that anymore. To see it too; the exuberant, blissful trans joy that shimmers without hesitation. 

Tempest closes the set with ‘People’s Faces’. A track I’ve seen live many times before, its hopeful celebration of the happiness and comfort that can be found in others has brought me to tears every time, but it seems more exquisitely on-point than ever tonight; the line “there is so much peace to be found in people’s faces” striking with a new-found optimism, as there really does seem to have been such a warm sense of peace emanating from Kae’s face throughout the whole performance. 

Despite assuring us that they think that “false exits are manipulative”, Tempest returns for a little encore, much to the ecstatic relief of the crowd. After a moment of vulnerable reflection sharing their poem ‘Hold Your Own’, they leave us with the uplifting message “If you take away one feeling from tonight, let it be delight”, urging us to focus on the ways that we’re all connected. And that is certainly what I come away feeling; a sheer sense of delight at the joy I have witnessed. An empowering and unifying queer energy and subtle sense of hope that through coming together as a community we can find happiness and strength. Thank you Kae Tempest for sharing your journey with us; for being you, and for giving us this hope that is so needed right now. 

Mari Lane / @mari_getinherears

Photo Credit: Kimberley Ross

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Introducing Interview: Breymer

Set to release their new album, When I Get Through, later this month, Minnesota born artist Sarah Walk – aka Breymer – creates sweeping indie-pop anthems, oozing a raw emotion and stirring heartfelt splendour. Exploring their relationship with gender and identity, the album marks the first since they recently changed their artist name – from Sarah Walk to the more androgynous Breymer – to reflect how they feel about themselves after their recent top surgery. Interweaving lush layered vocals and a shimmering textured musicality as it reflects on a personal journey of self-discovery with a stark honesty, it’s a truly exquisite collection.

We caught up with Breymer to find out more about the album, their live shows and being a queer artist in the industry. Have a read and watch the beautiful live video for latest single, ‘The Feeling (When I See You)‘, at the bottom of the article.

Hi Breymer! Welcome to Get In Her Ears! How are you doing today?
Hi there! I’m doing well thanks. Busy as ever preparing for these album release shows!

Are you able to tell us a bit about what initially inspired you to start creating music?
It was never really a decision, I just always found myself gravitating towards the piano writing my own songs. Even as a young kid, around four or five years old, I would refuse to practise piano learning other songs and would instead just sit there and put on performances of my own ideas. I always had this desire to create and share.

I love the raw stirring emotion and glistening musicality of your songs, but who would you consider to be your main musical influences?
I grew up listening to a lot of different music. I like to think of them as inspirations and not influences so much, or at least not intentionally. When I was young I loved pop and rock music — Hanson was my first album (don’t hate on it, that debut LP rules) Third Eye Blind, the Goo Goo dolls… I loved that kind of classic pop melodic sensibility. Then as I got a little older I started to love R&B and hip hop, like Usher and Jay Z, I think it was the rhythm that really was mesmerising to me, and then that turned into folk music like Paul Simon and Joni Mitchell as I got a little older. The last in that core discovery period of my youth was probably indie bands, like Radiohead, Fiona Apple and Phoenix. I like to think there are specific elements of each of those genres that still inspire my music today.

You recently announced the release of your upcoming album When I Get Through, which is super exciting! It’s been described as a collection of songs exploring your relationship with gender and identity – are you able to tell us a bit more about this and how this theme has inspired your writing?
The album really follows my entire journey of getting (and decided to) get top surgery. The beginning of the album opens with a song which documents the first time I ever told anyone (outside of my partner) that I was considering the surgery, but I still had so much internal shame and repression. Throughout the course of the album, I process these emotions and find my way to the final track ‘Anesthesia’ which leads me into the operating room. It’s a deeply personal album, and I wanted the focus to be on the process and the journey instead of the result.

And how would you say the process of recording the album has differed from your previous releases?
Each time I make an album it has a totally different feel to it. A lot of that is based on the way you record, or the arrangement of the songs, but I think the biggest element involves the people you bring in to make the album with you. This album was primarily made by myself and Tyler Chester, who produced it. We had Abe Rounds, my dear friend, play drums as well, but for the most part it was just me and Tyler putting it together. That was a different approach for me because the previous two albums were more of a band dynamic. I think it made for a really personal and vulnerable environment where I felt like I could try and things and make mistakes. Tyler was wonderful in cultivating a really thoughtful and inclusive environment where getting the song right was the priority. There was no ego involved.

Following the album’s release, you’re heading over the UK in November to play a couple of shows. What can fans expect from a Breymer performance?
Well for one, I’m very much looking forward to playing with a full band again. I always have so much more fun on stage with other people, and I’m really thrilled to be bringing back some of my favourite musicians with me. I think the Breymer project has really allowed me to think intentionally about what this new name should represent. And for me, particularly alongside the album content, I want joy and reclamation to be at the forefront. While this album (and performing it) will undoubtedly bring a lot of vulnerability and fragility, I want the end result and the embodiment of who I am now as an artist to be on the other side of this; acceptance, freedom and joy.

And has there been a specific show you’ve played over the years that stands out as a particular highlight?
The best shows for me aren’t necessarily the biggest ones, but the ones where I have the most fun on stage with the people I’m playing with. One show that comes to mind was about 2 years ago at a really small club in London. I was co headlining with a really good friend of mine, and one of my dear friends (and former college bandmate) Lenny Brown who was playing bass with me. He’s just the best and makes any gig 10x better. The other songwriter who I was performing with came on stage to sing a song with me, and for some reason (it was the end of a very long and exhausting tour, so we were sort of losing it at this point) I could NOT stop laughing. I don’t know what got into me, but I just couldn’t even get through the song. Hopefully the audience members didn’t think I wasn’t incredibly unprofessional, but honestly it’s nights like that, particularly when you’re so exhausted, that just lift the mood and make you remember how fun performing with your friends can (and should) be. I think I value that more and more as I get older. It should be fun.

And when you’re out on tour, or playing gigs, are there any particular essentials that you like to have with you to keep you going?
I’ve definitely got my staples that I’ve learned help me a lot. One would be all of my sleep items. I used to be such an easy sleeper, but those days are gone (especially on the road). So now, I need an eye mask, a small fan that I always travel with, and a noise machine I play from my phone. I feel so lame but sleep is SO important and I’ll do whatever it takes. I also love to travel with my aeropress coffee maker. It’s easy to travel with and I’ve found that making your own coffee on the road saves you SO MUCH money. It’s also (most importantly) such a nice way to instil some sense of routine and control into an otherwise extremely unpredictable and chaotic schedule.

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?
I saw this article today that said in an interview with 1200 musicians, 67% of female identifying respondents said they had been a victim of sexual harassment, and over 70% discriminated against. Now that may not all be FROM the music industry, but I wouldn’t be surprised. I think there has been a huge shift recently, particularly in mainstream pop, where queer female artists are becoming much more outspoken and on the front lines, and that visibility is amazing. But I also think with that visibility comes more transparency about these other issues, like  discrimination, sexual harassment and severe depression. It’s such a tough industry, even without these things, so when you pile that on top of it, it can feel unbearable.

And are there any other new bands or artists that you’d recommend we check out at the moment?
I played a few shows last week on the east coast and met another artist who was an opening act in Asheville, NC. His name was Michael Flynn and his artist project is called Slow Runner. It was funny because he saw my setup on stage and said he had the exact same setup – same keyboard, and a small drum machine to accompany his playing. We also had weirdly VERY similar outfits on. There was just had this weird ‘cut from the same cloth’ thing going right away. Anyway, I absolutely loved his performance, and I think one of his songs called ‘Vape King’ was probably one of the best written songs I’ve heard in the past few years (it’s not out anywhere, but hopefully he records it soon….). Anyway, he was awesome and we’ve kept in touch and are going to write together via Zoom soon. Moments like that are such gems on the road.

Is there anything else you’d like to add about upcoming plans or particular thoughts you’d like to mention?
I have two more US album release shows ahead of the UK dates that I’m super excited about and working really hard on. We will be playing the whole album top to bottom, raising money for local gender affirmation clinics through raffles from local business donations, and displaying a few LGBTQ+ visual artists work in accompanying gallery spaces at the venues.

Huge thanks to Breymer for answering our questions!


When I Get Through, the upcoming new album from Breymer, is out next Friday 18th October via One Little Independent Records – pre-order here. Catch them live in the UK next month – playing Brighton on 25th November and London on 26th November. More info here.

12th October – US, LA – Wonzimer Gallery
26th October – US, MN – Berlin
25th November – UK, Brighton – The Folkore Rooms
26th November – UK, London – Paper Dress Vintage

Photo Credit: Simone Thompson

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