Category Archives: TVD UK

Jay Buchanan’s European debut with his solo project at Stereo Convent Garden in London was a night of revelation and musical enchantment. Known primarily as the frontman of the Long Beach rock band Rival Sons, Buchanan stepped into the spotlight with a new band to showcase his upcoming solo album Locust and Wild Honey. The intimate setting of Stereo Convent Garden was the perfect backdrop for this personal and semi-stripped-down performance.

Having just flown in from Germany where he was touring with his main band, Buchanan’s transition from frontman to solo artist would prove no challenge. The mystique of Buchanan, often shrouded in the collective energy of Rival Sons, was peeled away, revealing a different persona. He remained a frontman who’s in a trance and lost in the music, but this time, the spotlight was entirely on him.

The absence of his Rival Sons bandmates, especially Mr. Fuzzlord, highlighted Buchanan’s charisma and the sheer strength of his material. The pressure must have been immense, but Buchanan’s confidence and the quality of his songs connected straight away. I think what was obvious from the start is that you have an audience that will follow this man anywhere.

One of the most striking aspects of the evening was Buchanan’s rarely seen role as a storyteller. Known for his intense, over the top performances with Rival Sons, it was interesting to hear him speak so candidly on stage. He mentioned that he doesn’t have time to talk during Rival Sons’ shows because “they’ve got a lot of rocking to do.” However, in this solo setting, he shared the stories behind his songs, delving into their meanings, his writing process, and the personal impact of his music. This openness added a layer over vulnerability to the performance, not only showcasing Buchanan’s deep love for his craft, but the fact that he’s got a lot to say and he’s now got a proper outlet to do so.

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PHOTO: TOM J. JOHNSON | London-based newcomer flowerovlove proves she’s one to watch with the release of her infectious new single “breaking news,” out now.

Produced by Duck Blackwell and co-written with close friend Ines Dunn, the sun-soaked single is bound to put a smile on your face instantly. Talking about the single, the south London artist—also known as Joyce—says, “I was feeling sad when I wrote it, actually. I wanted to feel something lovey dovey, so I wanted to manifest feelings through a song. “breaking news” is about the thought process when you go from a crush to falling in love super uncontrollably fast and you can’t stop it, in combination with the shock of realising ‘whoa this is more than a crush.’”

floweroflove is not only an emerging fashion icon—having fronted campaigns for brands such as Gucci and Maison Kitsuné—but she is also a quickly evolving songwriter who champions self-love and womanhood. Definitely one to watch for 2024…

“breaking news” is in stores now.

Walking back to the train after Noel Gallagher’s High Flying Birds show at Alexandra Palace Park, I overheard a question that encapsulates the ongoing debate among fans: “Was it better than Liam?” This question, though inevitable, is shortsighted. You simply can’t compare the two. Both Gallagher brothers are phenomenal talents in their own right, but Noel’s performance showcased his unique ability to blend his illustrious past with a forward-looking artistry that few can match. Throughout the show, Noel’s trademark wit and “get off my lawn” quips between songs added a layer of charm and authenticity that only he can deliver.

Noel Gallagher, the mastermind behind some of the greatest songs in British rock history, brought his High Flying Birds to Alexandra Park for a mesmerising night, celebrating the release of his latest studio album, Council Skies. Critics and fans alike have showered praise on this album, and for good reason. It’s a testament to Noel’s enduring genius as one of the best songwriters the UK has ever produced.

Opening the set with “Pretty Boy,” the lead single from Council Skies, Noel immediately showcased his knack for crafting songs that are both contemporary and timeless. This track, along with others like “We’re Gonna Get There in the End” and “Open the Door, See What You Find,” highlighted Noel’s evolution as an artist. These songs aren’t just filler; they stand as pillars of his current creative output, demonstrating that Noel is far from resting on his laurels.

What made this night truly exceptional, however, was Noel’s decision to weave in a generous helping of Oasis classics throughout the set. Unlike his brother Liam, who opens with Oasis songs and unashamedly bashes out the hits, Noel makes the crowd work a bit more for them. The audience was treated to an array of beloved tracks, from “Going Nowhere” to “Talk Tonight,” and the reaction was electric. The crowd went absolutely bananas, proving that these songs are as vital and vibrant as ever.

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Renowned for his genre-defying sound, Whitey has established a unique presence in the music industry, fusing rock, electronic, and punk elements to create a distinctive sonic experience. His latest project, MENTAL RADIO, is set to debut on October 3rd, 2024, with the album’s first preview being released as a AA-side single; “CHERRYADE / WHEN DID I LAY DOWN AND DIE?,” out now.

“CHERRYADE” and “WHEN DID I LAY DOWN AND DIE?” deliver a dynamic and vibrant mix of genres, styles, and moods from the very start. These tracks meld classic, alternative, and blues-infused rock, characterized by catchy hooks, unconventional riffs, and an intense energy reminiscent of Queens of the Stone Age and Pixies.

Drawing from decades of musical influences and blending them through the Whitey filter, MENTAL RADIO emerges as an album that is simultaneously furious, raw, humorous, politically incisive, and poignant. It serves as a satirical reflection on 21st-century life, akin to a musical pop art collage.

MENTAL RADIO is available to pre-save now.

Body Count tore through the Kentish Town Forum last week in London, leaving a moshpit-ravaged landscape in their wake. Their Merciless Tour stop was a potent display of the band’s enduring power, effortlessly weaving together crossover thrash anthems, blistering social commentary, and a taste of upcoming brutality.

The night erupted with the pulverizing one-two punch of “Body Count’s in the House” and straight into a surprising, but very much welcomed Slayer medley of “Raining Blood” and “Postmortem.” Ice-T, a towering figure of stoic charisma, strutted the stage with swagger, his vocals cutting through the surging guitars with razor-sharp precision. Even at 66, his presence remains as intimidating as ever. The crowd, a diverse mix of generations united by their love for heavy music and hard-hitting lyrics, roared their approval.

Body Count unleashed classics like “Bowels of the Devil” and “There Goes the Neighborhood” with relentless ferocity. The mosh pit was a maelstrom of chaos, bodies colliding and thrashing in unison, creating one of the most brutal scenes ever witnessed at the O2 Forum in Kentish Town. “Necessary Evil” and “Manslaughter” hit with the force of a sledgehammer, proving the band hasn’t lost a step, their signature blend of thrash and groove metal sounding more potent than ever.

One of the highlights of the night was the relentless energy brought by Ice-T’s son, Little Ice. Stage diving and flying around the stage, Little Ice kept the energy at an atomic level, ensuring the mosh pit was fierce and never seemed to stop. It was one of the heaviest shows I’ve ever seen, full of surprises, including two new songs, “Psychopath,” which is old-school metal at its finest, and “The Purge.”

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Ease your way into the working week with Hohnen Ford and her mesmerizing new single “I Wish I Had A God,” out now. Her EP of the same name is due for release on 3rd August 2024 via Young Poet.

A beautifully performed piano ballad, “I Wish I Had A God” immediately pulls at the heartstrings in the best way possible. Written about losing a very close friend, the deeply personal single showcases Ford’s delicately weaved vocal, allowing her natural songwriting ability to shine through as well.

Talking about the single, Ford says, “‘I Wish I Had a God’ emerged from the depths of grief, as an attempt to make sense of losing one of my best friends last year. Songwriting can be a vessel for grappling with the ineffable. This is the most painful song I’ve ever written, and has also been a bittersweet gift to watch it resonate with so many as I’ve performed it live over the last year. Our shared human experience of grief teaches us so much.”

Upcoming EP “I Wish I Had A God” is a collection of five rich and emotionally intelligent songs, showcasing Ford’s ability to weave jazz, pop, and folk seamlessly together. Her music strikes a chord with a generation of fans who appreciate honesty, depth, and sincerity in their favourite artists.

Hohnen Ford’s single “I Wish I Had A God” is in stores now.

Last Wednesday at the O2 Kentish Town Forum, Underoath delivered a show that was more than just a nostalgia trip for fans clinging to their teenage angst. It was a defiant middle finger to the critics who once pigeonholed metalcore as a genre of fleeting trends and guttural screams. This wasn’t your typical mosh pit fueled by mindless aggression. This was a celebration of a band that dared to evolve, pushing the boundaries of the genre they helped define.

Some may miss the wild, chaotic mosh pits of the past where bodies once flew through the air like missiles. Yet, for longtime fans of Underoath, the change in energy wasn’t a watering down but a refining process. This show resonated with those who’ve grown alongside the band, where emotions have evolved beyond raw intensity to something deeper. Don’t get me wrong, there was a pretty consistent wave of crowd surfers and a whirlpool of a pit here and there, but the majority were there to sing along and remember the impact this album had on them.

Playing their iconic They’re Only Chasing Safety record in its entirety wasn’t just a nostalgic pandering, it was a testament to the album’s enduring strength. This is the one that divided both critics and fans alike as the band evolved their sound and accepted that you can’t please everyone, nor should you be trying to. These weren’t relics of a bygone era, these were songs that still resonated with a raw and powerful honesty. It was a reminder that Underoath was at the top of the heap of bands of the overcrowded metal core scene, and one that still matters today.

The acoustic interlude with “Some Will Seek Forgiveness, Others Escape” offered a welcome shift in gears. This stripped-down performance, featuring just Aaron Gillespie and Tim on guitars, showcased the emotional core of Underoath’s music. It was a special treat to see Aaron, the band’s last original member, step out from behind the drums and deliver such a raw and powerful vocal performance. This intimate moment highlighted the depth of his songwriting and the vulnerability often overshadowed by the band’s heavier sounds.

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Art-pop aficionado Æ MAK—aka Aoife McCann—returns with the release of her bewitching EP “ABC Side Baby,” out now.

Known for creating other-worldly pop music with industrial beats, this latest collection of vignettes is no exception. These songs move through the magic and playfulness of sparkling new love into the deep depths of heartbreak; finding strength and a sense of self again at the lowest of lows. “I’d been listening non stop to Dijon and ML Buch, so the energy in the rhythm and production is definitely influenced by them,” Aoife elaborates.

Talking about the focus track “Low Down,” Aoife says, “Its’ about hitting rock bottom after a break-up, almost basking in it, and finding your power again—’but I’m coming back, like the phoenix, outta my blood bath.’ I made it in between chain-smoking out the window and lying on my best pals green corduroy couch all summer; until I finally felt some strength creep back in. I wanted the production to have a bit of a Dijon or Frank Ocean feeling mixed with some hyper pop moments.”

“ABC Side Baby” is in stores now.

The captivating voice of Cyrene has returned with a new single, a cover of Duran Duran’s “Ordinary World,” remixed by The Lost Voice.

Enigmatic and alluring, Cyrene is named after an ancient Greek huntress who vanquished wild beasts with a bronze-tipped javelin and charmed Apollo by wrestling a lion with her bare hands. To us, she is the singer who transforms familiar lyrics into new realms of meaning.

Her mesmerizing sound possesses an ethereal quality, transcending time and place. These renditions aren’t mere covers; they are re-interpretations that blur boundaries and break down differences, aiming to enchant and surprise, to soothe and excite.

Cyrene’s true identity will remain a mystery as her story unfolds, but with an album set to release later this year, she is definitely one to watch.

James, born from the industrial pulse of Manchester in 1982, took the stage at The O2 in London and transformed it into a living, breathing work of art. Led by the ever-magnetic Tim Booth, the band’s ability to evolve while retaining their essence was on full display. This wasn’t just another night of music; it was a kaleidoscope of sound and emotion, a journey through decades of musical evolution.

Touring in support of their landmark eighteenth studio album, Yummy, James is back with a collection that’s resonating deeply with critics and fans alike. Yummy showcases the band’s enduring creativity, with the songwriting hailed as some of their best. James tackles complex themes of love, loss, and the environment, offering fresh perspectives that both challenge and inspire.

Musically, the album is a delightful exploration, seamlessly blending their classic sound with new sonic textures, creating a diverse and engaging listening experience. But James isn’t afraid to get real either, with socially conscious lyrics that urge listeners to embrace inclusivity and take action to protect our planet. This potent combination of insightful lyrics, genre-bending music, and a message of hope makes Yummy a must-hear for longtime James fans and new listeners discovering the band’s brilliance.

With the anticipation built around their new album, the stage was set for a memorable night. The energy at the O2 was electric, filling the vast arena with nearly 20,000 people. As the lights dimmed and the first notes of “Johnny Yen” reverberated through the space, the audience was immediately transported. Booth moved with a hypnotic elegance, looking completely at home with the confidence and swagger that originally got him this gig many years ago. The seamless transition into “Waltzing Along” felt like a natural progression, leading Booth to the front of the barricade. Standing on the edge, with the fans in the front row literally holding him up as he serenaded them up close and personal, he let go and the crowd lifted him high, gliding him across the arena floor.

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Alt-R&B artist Orion Sun returns after a two year hiatus with new single “Already Gone,” out now.

The soul-infused songwriter goes back to her ethereal roots with this latest cut, allowing her soft, subtle vocals to soar effortlessly over the majestic musicality. Fans of the likes of Hope Tala and Raveena will feel at home here.

Of her new release—produced by Rodaidh McDonald and Julian Ali—the LA-based artist says,“It’s about that first night alone when your partner moves out and it’s obvious nothing will ever be the same. You try to change it or fix it or run from it but you have to come home eventually. The silence becomes heavy like water. Everything was a task. Everything was hard. I was holding on to hope like a life raft. Only in retrospect is it kind of funny. It seems dramatic and annoying but it was so true to me then.”

“Already Gone” marks Orion’s first release since her 2022 EP “Getaway.”

Liam Gallagher’s final night at the O2 Arena was a cacophony of nostalgia, bravado, and pure rock ‘n’ roll bliss. Let’s be honest; in the pantheon of rock icons, few can swagger like Liam. He’s the last of a dying breed—a rock star who doesn’t just walk the walk but struts it with a perpetual sneer and a parka that looks like it’s survived the Gallagher brothers’ infamous rows.

The Definitely Maybe tour is a celebration of an album that, for many, defined the ’90s. For those of us who grew up in the Britpop era, this tour is less about music and more about reclaiming our youth. And Gallagher knows this. He’s not just singing songs; he’s resurrecting an era. Every chord of “Supersonic” and every lyric of “Live Forever” is a time machine back to a decade when our biggest worry was which Gallagher brother would storm off stage next.

The O2 Arena, that monolithic testament to modern entertainment, was packed to the rafters with fans eager to relive the glory days of Britpop. The discomfort of standing for hours was worth it for a setlist that reads like a greatest hits album. Gallagher, never one to mince words, kicked off with “Rock ‘n’ Roll Star,” a song that’s less about rock and roll and more about Gallagher’s personal brand of cosmic ego. And we loved it.

The highlight, of course, was the full performance of Definitely Maybe. Let’s not kid ourselves, this album is the Holy Grail for Oasis fans. Tracks like “Up in the Sky” and “Cigarettes & Alcohol” were played with an intensity that felt both nostalgic and refreshingly raw. Gallagher’s voice, that iconic nasal drawl, was as sharp as ever. If anything, age has added a layer of gravel that suits the music’s anthemic quality.

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Acclaimed vocalist, DJ, and activist NGAIO is on a journey to spread powerful messages that resonate with the soul, and her new single “Goddess” is no exception. The single is taken from her highly-anticipated, self-produced debut EP “Four Quarters,” which blends jazz, dub, and trip-hop creating a sound that is truly innovative.

Of “Goddess” NGAIO says, “‘Goddess’ is about understanding that we are connected to more than the physical space of here and now. It’s about knowing that we can find that connection in nature and ourselves.” “Four Quarters” sees NGAIO embarking on a deeply personal and introspective journey, delving into the exploration of identity, cultural heritage, and the challenges of authentic self-expression in a world often resistant to alternative perspectives. As a genre-fluid shapeshifter, NGAIO effortlessly blends sounds and shatters expectations.

As well as performing solo, NGAIO founded Booty Bass as a space for women and non-binary folk to come together and play big, bad, unapologetic bangers. Since its conception in 2018 it’s become a space that promotes an appreciation for different cultures and sounds worldwide where dancing and laughing is key. NGAIO was also recently a part of the Censored campaign highlighting female nipples being sexualized, which was part of a city-wide exhibition addressing the hypocrisy of it and the consistent policing of women’s bodies.

With her commitment to making the world a better through music, “Goddess” and “Four Quarters” are only the start for this formidable artist.

Ever found yourself wondering if you’ve been missing out on something epic? Well, seeing Thirty Seconds to Mars live for the first time made me realize I’ve been obliviously orbiting outside a musical cosmos that’s nothing short of extraordinary. Jared Leto, whom I’ve always revered for his Oscar-winning performance in Dallas Buyers Club (among other outstanding roles), showed that his rock star chops are not just good—they’re stratospheric.

Originally delayed due to the SAG strikes impacting Leto’s filming schedule, the rescheduled The Seasons Tour celebrated their sixth studio album, It’s The End Of The World But It’s A Beautiful Day, with interstellar flair. And let’s talk about their penchant for the extraordinary: Thirty Seconds to Mars don’t just release albums—they release experiences.

How about the first commercial album launched into space? Check. Debuting a song from the Space Station? Check. With thousands of fans contributing variations of cover art, backing vocals, and percussion to their recordings over the years, and holding the record for the number of shows during a release cycle (literally in the Guinness Book of World Records), it’s clear that Leto wants to bring his fans as close as possible to the experience and the music. The show at the O2 Arena was a testament to their innovation.

From the moment the band launched into the thunderous opening of “Up in the Air” with a massive explosion of confetti, it was clear that this would be a huge show. Ripping straight into “Kings and Queens” and “Walk on Water” kept the momentum soaring, proving that Leto’s knack for massive hooks is undeniable. But it’s not just the music that’s out of this world—Leto brings a level of creativity that’s light years ahead. Picture this: lasers, fire, neon lights, dramatic leaps, and costumes so elaborate they’d make a Broadway wardrobe jealous and have Pink Floyd fans reminiscing.

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London-based alt-rock trio Honeyglaze announce the release of their sophomore album Real Deal with the release of their empowering new single “Don’t,” out now.

Anouska Sokolow of the band says, “Based on my favourite Destiny’s Child song ‘Bills, Bills, Bills’ (which is also a song about being done with waste men), ‘Don’t’ was written after the end of a particularly bad relationship and I had this anger at every man I felt had ever wronged me or spoken down to me. It’s really fun to be aggressive and direct sometimes, especially when it’s unexpected.”

The single is undeniably powerful from the offset, with Sokolow’s cutting edge vocals at the forefront throughout. “Don’t” is a striking calling card for Real Deal; the album which follows their 2022 self-titled debut.

Honeyglaze are a South London based, haiku-loving trio comprised of vocalist and guitarist Anouska Sokolow, bassist Tim Curtis, and Yuri Shibuichi on drums.

“Don’t” is in stores now via Fat Possum Records.