LISTEN: Trinity Mei – ‘ever be right’

Trinity Mei is a folk singer-songwriter from the sun-soaked desert landscapes of Arizona. Having honed her musical prowess at the prestigious Berklee College of Music, she blends elements of traditional folk with aspects of electronica, giving her music a contemporary yet timeless quality. 

Her debut track ‘ever be right’ has introspective lyrics that delve into the common experience of entering a relationship where emotions aren’t reciprocated. She describes tender moments in the verses – “…we’ll stay up for hours until the moon is gone / talk about secrets till the light of dawn” – but questions in the chorus whether she will ever be right for them, noting her frustrations that “guess life’s not like the movies, your heart is out of range”. 

‘ever be right’ has a beautifully chilled out energy, characterised by mellow and gentle sounds. It’s built around lilting, strumming guitar and incorporates harmonising vocals, lush string swells, and textured synth parts – providing a perfect foundation for Mei’s smooth and soulful vocals, which captivate on first listen. The production is crisp and warm, drawing you in and holding your attention. Whilst there are no belting vocals, they are delivered delicately with an immersive dynamism and raw emotion, reflecting the subject matter and giving hints of the stirring alt-pop of Phoebe Bridgers or Billie Eilish.

Already, with this spellbinding debut, Mei has demonstrated sharp musicianship in constructing a stunning and intricate soundscape with a really strong vocal performance. I look forward to seeing what’s to come next from this artist.

Ella Patenall
@ella_patenall

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ALBUM: Alex Lahey – ‘The Answer Is Always Yes’

Following singer/songwriter Alex Lahey’s idiosyncratic sophomore LP, 2019’s The Best of Luck Club, the Australian indie hero revels in the absurdity of the suburban gothic on her latest record (and debut for Liberation) – collaborating with songwriters Jacknife Lee, John Mark Nelson, Chris Collins, amongst others – The Answer is Always Yes; ten cathartic tracks of self-discovery and exploration, finding comfort in discomfort.

Opening with Courtney Barnett-esque speak-sung delivery (“Everybody is a bit fucked up, but they think they’re okay…”), ‘Good Time’ is unashamedly upbeat, with invigorating, fuzz-drenched hooks; an ode to post-lockdown nights out at the pub. Following with Nevermind-era, grunge-fuelled riffs, ‘Congratulations’ sarcastically reflects on not one, but two ex-partners getting engaged within an unexpectedly short amount of time from one another – “Congratulations / So happy for your perfect life / There’s something in my eye / I’m doing just fine without you.”

Ruminating on a tumultuous breakup, warm basslines propel power pop anthem ‘You’ll Never Get Your Money Back’, before musically intimate indie ballad ‘The Sky is Melting’ revels in the drug-induced chaos caused by consuming edibles. ‘On the Way Down’, another sardonic breakup song, is juxtaposed by the sickly-sweet lyrics of ‘Makes Me Sick’ (“I like you so much, it makes me sick and I wouldn’t change it!”), whilst ‘Shit Talkin” gets awkward with bubblegum pop melodies and introspective lyrics.

‘Permanent’ is a sombre reflection on the songwriter’s time spent at her childhood home during lockdown; a semi-acoustic lament crescendoing into feedback and fear. Inspired by the TV coming-of-age romantic comedy Heartstopper – adapted from the webcomic of the same name by Alice Oseman – the infectious ‘They Wouldn’t Let Me In’ follows, reflecting on the teenage queer experience with self-aware wit. Of the track, Lahey explains: “I spent a lot of time thinking about my own experiences growing up as a queer teenager…being excluded from conventional romantic rites of passage…feeling like I couldn’t relate to anyone around me… It also makes you realise how absurd everything is.”

Closing with the ethereal title track ‘The Answer is Always Yes’, Alex Lahey showcases her tender and emotive vocal range; realising that life is unpredictable, but we should always stay positive. If you are saying yes, you are experiencing the world and all its quirks. It’s also indicative of the rest of the record; beautifully finding humour in the absurdities of existence.

The Answer Is Always Yes, the latest album from Alex Lahey, is out now via Liberation – order here. And you can catch her live when she tours Europe this Autumn – more info here.

Ken Wynne
@ken_wynne

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WATCH: HotWax – ‘Drop’

Having won us over with previous impassioned offerings ‘Treasure‘ and ‘Rip It Out’, Hastings band Tallulah, Lola and Alfie – aka HotWax – are swiftly taking over the UK music scene. With acclaim from the likes of BBC Radio 6 Music, BBC Radio One, NME and The Independent, and support from artists such as Courtney Barnett and Wolf Alice, to name a few, the teenage trio are continuing to mark themselves out as definite ones to watch. Now, following the release of their debut EP A Thousand Times earlier this year, and signing to Marathon Artists, they’ve shared a colossal new single.

Mixed by Alan Moulder (Foo Fighters, Wet Leg), ‘Drop’ is propelled by pulsating beats and raging hooks as it builds with a raucous energy and fierce allure to an epic grunge-fuelled anthem. Although somewhat nostalgic in their ’90s grunge and ’00s indie references, HotWax have once again managed to create something completely fresh; ‘Drop’ blasts into the ears with the band’s distinctive ferocious drive and blistering power, leaving me excited to hear what this immense band on the rise come up with next.

‘Drop’ is accompanied by a wonderfully wacky new video, directed by Josh Quinton. Featuring aliens coming to earth in a decollage spaceship to infiltrate the band’s brains and make them shred even harder, all whilst styled in Fall ’23 Charles Jeffrey, it showcases the band’s colourful humour and style alongside their mammoth musical talent.


‘Drop’ is out now via Marathon Artists, and is released amidst an incredibly busy summer for HotWax. As well as already wowing packed out crowds at The Great Escape, Dot To Dot and Mad Cool, they are set to play alongside The Strokes and Yeah Yeah Yeahs (and Angel Olsen and Amyl And The Sniffers – we can’t wait!) next Friday 25th August at All Points East , and will then be heading to Reading and Leeds where they’ll headline the BBC Introducing Stage. See the full list of HotWax’s upcoming live dates, including their Autumn tour supporting Royal Blood in the UK and North America, here.

Mari Lane
@marimindles

Photo Credit: Chiara Gambuto

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LIVE (Photos): Deer Shed Festival, 2023 (Day 3: 30.07.2023)

Having fallen in love with North Yorkshire festival Deer Shed when I attended for the first time last year, I was super glad I got to go again this year. Highlighting a real family focus, whilst hosting an incredible range of exciting new artists, it oozes the warmest of vibes and – being smaller in size than most other festivals – creates a space that feels comfortingly intimate; an inclusive safe haven for artists and fans of all genres and ages. Whilst providing a child-friendly environment (with an array of activities organised specifically for them), this does not take away from the quality and array of performances on offer for everyone to enjoy. Although I’d say I’m in the minority of attendees who does not have children (or isn’t a child themselves!), I in no way feel this to be hindrance – it is still very much an ‘adult’ festival, just one that happens to also be a safe and fun environment for kids to be in too! And, amongst those performing, a fantastic amount of female, non binary and queer performers are represented, which makes for a pretty dreamy time. I was lucky enough to catch lots of these over the weekend – a good balance of artists I already knew and loved, and those who I had not had the chance to see before.

Kicking off the last day of the festival at the In The Dock stage, Divorce liven the spirits with their reverb strewn, Americana-tinged indie-pop. With the luscious honey-sweet-yet-husky vocals of front person Tiger leading the way, the Nottingham band treat us to a beautifully uplifting set; oozing a dreamy romanticism alongside a subtle gritty energy, I can’t get enough of the emotive lilting harmonies and scuzzy hooks. Though I’m very happily married, I wish every Sunday could start with a bit of Divorce.

Recommended by festival director Kate Webster as a must-see at the festival, Liverpool artist Pet Snake fulfils my expectations and more with her stirring alt-folk offerings. The solo project of Evelyn Halls (Clean Cut Kid), it’s an instantly immersive and beautifully heartwarming experience to see live. As Hall starts off by making the bold claim that Deer Shed is “the nicest festival I’ve ever been to“, I may have to agree; sitting in the Lodge Tent, G&T in hand, the all ages audience captivated and swaying along as each emotion-strewn offering flows from the stage. With shades of the catchy allure of Jenny Lewis, and themes ranging from life-changing love (a particularly touching moment when Hall dedicates ‘Jacket’ to her guitarist / husband) to the struggles of returning to the outside world post-pandemic, each song tugs at the heartstrings in all the right ways. With her rich vocals and charming charisma alongside the shimmering anthemic melodies, Pet Snake has me utterly spellbound. 

One of the bands I’d been most looking forward to seeing this weekend (and one who we’d been lucky enough to catch a sneak peek of when they joined Sprints yesterday), Leeds based English Teacher take to the main stage with a set so poignant and immersive that I almost don’t notice the rain. With a subtle political drive and poetic lyricism, each song hits with a cutting post-punk power, whilst maintaining the band’s truly unique tongue-in-cheek wit and fierce raw energy. Despite their trademark no-frills approach, the band lose none of what matters and deliver each driving offering with an engaging majesty. 

Glistening in emerald green, Gwenno charms the damp crowd with her magnetising shimmering aura. Alternating between singing in both Cornish and her native Welsh, she delivers soaring pastoral odes to her homeland (and cheese – “man’s greatest invention”) with a rich celestial splendour and uplifting grace.

After warming ourselves with some delicious vegan noodles (and getting my big warm jacket from the tent), it’s time for The Big Moon – having been a fan for years now, I’m not quite sure how I’ve never seen them live before, and I’m glad the moment has finally arrived, though it seems I’m not quite prepared for the power with which the ‘moment’ hits me. With my partner taking photos in the pit, I stand alone and immediately start to lose all track of whether it’s raindrops or tears running down my face, as the searing twinkling emotion of ‘Wide Eyes’ emanates from the stage. Slightly embarrassing, but testament to the truly evocative power this band are able to create. And, with their witty banter and sunny disposition, the teardrops are short-lived (sadly the rain isn’t), and The Big Moon succeed in brightening our spirits with the joyous, lilting allure of each and every offering. As they treat us to an eclectic array of songs new and old (including an acapella rendition of ‘Formidable’ which involves “huddling together for warmth”), the pac-a-mac-ed crowd of fans new and old sing along in unity, and I’m left cheered and inspired not only by The Big Moon’s beautiful musicality, but their infectious warmth and camaraderie. And it’s awesome to see Soph repping another GIHE fave, Brighton’s CLT DRP, on her t-shirt!

The rain continues, but so does the music. Despite the downpours, nineties Scottish band The Delgados close the festival with their blissful indie-pop anthems.

So, thank you Deer Shed for another gorgeous weekend, I’ll see you again next year (not even holding it against you that I came back with Covid…)! See more words about Day 1 and Day 2 of the festival.

Words: Mari Lane / @marimindles
Photos: Paul Dawes / @pauldawesart

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