Category Archives: TVD UK

Birmingham-based, rising indie-pop sensation Daisy Peacock is having a moment, and honestly, we’re here for all of it. Her new single “Girlbestfriend” is out now via AWAL, and it’s the perfect blend of playful pop attitude and brutally relatable storytelling.

Written during her first year at university, “Girlbestfriend” turns a messy talking-stage situation into a cathartic, witty anthem. We’ve all been there, you’re talking to a guy, things seem promising…and suddenly there’s a girl best friend in the mix. Spoiler alert: she’s actually the ex.

Rather than spiral, Daisy picked up a pen and a guitar. “I wrote the song very quickly after that, it was just a bit of a rage reliever in the moment!” she laughs. Produced by Jamie Sellers with recording help from friend Oli Roberts, the track sparkles with Daisy’s signature charm and sharp self-expression.

Daisy grew up in Sheffield, surrounded by a melting pot of musical influences, but it was the power of creative writing and the pop-girl icons of the 2010s that shaped her sound. Think the emotional punch of Taylor Swift, the edge of Olivia Rodrigo, and the rising energy of artists like Chloe Slater and Alessi Rose. Now living in Birmingham, Daisy continues to carve out her place in the UK indie-pop scene with unapologetically fun, flirty, girl-power-fuelled music.

“Girlbestfriend” is in stores now via AWAL.

In a crowded alt-pop landscape where personality is as crucial as production, Fliss is emerging as one of the freshest voices to watch. The UK-based artist has been steadily building her sonic identity over the past few years, but her new single “Evil Genius” signals a decisive leap forward, a track that amplifies her sharp lyricism, playful confidence, and vivid creative persona.

Fliss isn’t an artist who hides behind ambiguity. Her work has always carried a thread of honesty and self-possession, but “Evil Genius” elevates that energy into something bolder, edgier, and distinctly her own. This blend of authenticity and attitude gives Fliss an immediate magnetism. She doesn’t just craft songs; she crafts worlds.

“Evil Genius'” is a sharp, infectious alt-pop cut that leans into the idea of reclaiming power with a wink. The track’s punchy production and hook-laden chorus give it instant replay appeal, while its lyrical bite shows an artist who knows exactly what she wants to say, and how to say it. It’s a confident declaration of intent, delivered with style.

With “Evil Genius,” Fliss showcases both evolution and ambition. It’s the kind of single that doesn’t just add to an artist’s catalogue, it reframes it. There’s a confidence in the songwriting, a polish in the production, and a spark in the delivery that suggests she’s entering a compelling new chapter. If this is the direction she’s heading, Fliss is well on her way to becoming one of the UK’s standout alt-pop names.

“Evil Genius” is in stores now.

Honest, raw, and beautifully human, the Swiss indie-folk duo Lost in Lona return with their most intimate work yet.

Lidia Beck and Konstantin Aebli recently released their second album, The Killer, which promises something rawer, closer, and more authentic than ever. Since their stunning debut, Scared Like a Mother and Her Gun in 2024, Lost in Lona have quietly but powerfully carved out their space in the Swiss music scene. Their soft, soaring vocals and gritty guitars evoke the emotional honesty of Big Thief, Phoebe Bridgers, and Lizzy McAlpine, weaving stories of intimacy, melancholy, and new beginnings.

Their latest album dives even deeper into what defines them; simplicity, honesty, and storytelling that doesn’t hide behind metaphors The duo’s latest single “Looking For” captures that delicate tension between desire and restraint, enjoying something you know you probably shouldn’t. Minimal and folky, the song feels like a quiet conversation with oneself. It reveals Lost in Lona at their most vulnerable, exploring the ache of wanting to be seen by someone who doesn’t notice you. It’s tender, raw, and deeply relatable.

Lost in Lona describe their sophomore album as “our second baby.” The culmination of a year’s worth of emotion, growth, and creative honesty. With every release, Lost in Lona remind us that quiet music can speak the loudest.

The Killer is in stores now.

Indie rock newcomers Keo have arrived, and if the buzz surrounding them is anything to go by, they’re here to stay. Since the release of debut single “I Lied, Amber,” the London-based quartet has been the talk of the UK indie scene, popping up across social feeds and playlists with the kind of hype most new bands can only dream of.

Now, that excitement has crystallised into their debut EP “Siren,” a five-track release that captures all the raw, electrifying energy of Keo’s live shows. From the driving pulse of “Hands” to the emotional weight of the closer, “Kind, If You Will,” each track glows with intent: full, youthful, and utterly unapologetic.

Fronted by 21-year-old songwriter Finn Keogh, the band’s sound fuses the garage grit of acts like Wunderhorse with something distinctly their own; a fresh, emotionally-charged edge that feels both nostalgic and brand new. “These songs weren’t written for any purpose other than that they had to come out,” Finn explains. “They’re a release of bottled-up emotion. Writing them felt like confessing your sins, ready to move on.”

It’s not just on record where Keo shine, they’ve already sold out a UK headline tour this October and made waves with their breakout set at The Great Escape Festival earlier this year. They are also confirmed to headline Bristol’s Ritual Union Festival on Saturday, 28th March 2026. With “Siren,” the Keogh brothers and their bandmates have proven they’re more than just a momentary buzz. This is the sound of a band on the brink of something big.

Bristol’s alt-rock powerhouse Indecision are this week’s spotlight, and for good reason. Known for their high-octane energy and explosive live shows, the band channels the nostalgic grit of ’90s and early ’00s rock while bringing a fresh, modern edge. Their sound fuses raw emotion, heavy riffs, and anthemic hooks into something that feels both comfortingly familiar and entirely their own.

From small venues to packed-out stages, Indecision have built a reputation for turning every performance into a full-throttle experience that leaves audiences buzzing. Their brand-new single “Haunt” is out now on all streaming platforms.

The band shared, “We’ve been working really hard on this project for the last few months and are really proud to finally share it with you. We hope you enjoy it as much as we do!”

Don’t miss your chance to see them live supporting Mondaze at Heartbreakers, Southampton on Tuesday 4 November 2025. Turn it up loud, Indecision are a band you won’t want to sleep on.

Toronto-born artist Lillian Blue Makin is redefining genre boundaries and shows no signs of slowing down with new single “DAISY,” out now.

At just 23, this queer artist has crafted a sound that effortlessly weaves rap, jazz, folk, and soul, creating music that feels both intimate and expansive. Lillian’s songs dive deep into themes of young queer love, personal evolution, and identity, told through vivid storytelling and poetic lyricism. She cites Dolly Parton, Andy Shauf, and Erykah Badu as inspirations, helping to shape the textured and emotional landscape of her work.

Since releasing her first single in 2020, Lillian has built an impressive catalog that includes five singles and a full-length LP, Primary Language (2022). The album has resonated with listeners worldwide, earning over 2 million streams on Spotify and spots on multiple editorial playlists. Now, Lillian returns with her latest single “DAISY,” a long-awaited release following a year-long hiatus. Lillian elaborates, “It’s been over a year since I released anything. When we recorded ‘THE SUMMER’ we also recorded this tune called ‘DAISY’.”

“DAISY” captures the heartfelt honesty and sonic fluidity that make Lillian Blue Makin one of the most exciting emerging voices in Canada’s indie scene.

“DAISY” is in stores now.

John Butler is an icon of Australian music and one of the country’s most celebrated independent voices. He has spent more than two decades carving out a career defined by authenticity, activism, and artistry. Now, with a renewed creative spark, he returns to the UK this month for three exclusive shows, and fans are in for something truly special.

Fresh from releasing his acclaimed new solo album PRISM, Butler is stepping boldly into a new chapter. Known for his powerful performances and mastery of stringed instruments, he’s long fused earthy grooves with openhearted storytelling. But with PRISM, he’s gone deeper, exploring new sonic territory while staying true to the spirit that made him a household name.

Co-produced with James Ireland (POND, San Cisco), PRISM is a kaleidoscope of sound and emotion; fierce guitars meet soaring choruses, and introspective lyrics sit beside an undeniable groove. It’s both a reflection of Butler’s evolution and a celebration of his freedom as a solo artist.

From busking on the streets of Fremantle to commanding festival stages around the world, Butler has always brought soul, sincerity, and a deep sense of purpose to his music. His upcoming UK dates promise to be no exception, a vibrant mix of storytelling, musicianship, and raw energy that only he can deliver.

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This week’s spotlight shines on Ouida, a rising neo-soul artist whose latest release “Everybody’s Girl” has already been turning heads and capturing hearts around the world.

Ouida’s latest single is a cheeky yet bittersweet R&B-infused track, opening with a gentle, jazzy intro before flowing into soulful grooves. Lyrically, it tells the relatable story of the “ex who’s not quite an ex,” blending playful shade with raw honesty. Co-written with her friend Cara Nicole, Ouida herself calls it “a love track that’s kind of a diss track.” Spicy…

Based in LA, Ouida has been carving her own path as a genre-defying voice in modern soul. Known for her raw, dark vocal timbres and jazz-inspired live instrumentation, she creates music that is as cinematic as it is intimate. With her Filipino-Irish heritage and Bay Area upbringing, Ouida channels the passion and grit of UK soul and R&B while infusing a distinctly West Coast sensibility. This mix of influences gives her music both depth and a fresh edge.

“Everybody’s Girl” is in stores now.

The original outlaws. The band too dangerous for polite society. When W.A.S.P. dropped their self-titled debut in 1984 it redefined shock rock for metal. Excess, chaos, blood, raw meat, sleaze, fury. It was part of the notorious Filthy Fifteen and it remains one of the most dangerous records in metal history.

Last Sunday at the Eventim Apollo, Blackie Lawless and company brought the beast back to life. The Album One Live tour is exactly what it sounds like. Every single track, front to back, played with venom and fire. They kicked off with “I Wanna Be Somebody” straight into “L.O.V.E. Machine.” Two of the biggest hits in the band’s catalogue, unleashed immediately. Even Blackie admitted that the promoters thought he was crazy for starting the show with such heavy artillery. But when your debut is stacked top to bottom with killers, who cares about pacing. This album is all killer.

The set hit like a sledgehammer. “On Your Knees” has been their live opener for forty years, but here it finally sat in its rightful spot as track eight. Blackie had the vocals locked down, the grit and the power still there, cutting straight through. He was moving, sneering, swinging the mic stand, feeding the crowd like there was blood in the water. He’s had his battles over the years but that was all behind him tonight. This was the Blackie Lawless we all know and love, fired up and in command, and the Apollo roared right back at him.

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Lowhours is the new venture from multi-instrumentalist, writer and producer Brad Dorey. With summer at an end and Autumn kicking in, Lowhours have launched the perfect debut to keep you warm as they unveil the slick, psych-rock stunner “Hemisphere.”

Originally conceived through a jamming session with long time collaborator Ben Ysselmuiden, Dorey began to tweak “Hemisphere” with the track evolving over time into what we hear today.

With the addition of Pond and Tame Impala drummer Julien Barbagallo, Lowhours have offered up an impressive opening gambit. A prowling, cerebral, and at times haunting piece of music, “Hemisphere” builds a spacey atmosphere throughout the epic six-plus minutes of hazy goodness.

“Hemisphere” is in stores now.

Hailing from New South Wales in Australia, Little Quirks are a family band turning heads across Oz and beyond with their infectious indie-folk sound and breathtaking harmonies.

Sisters Abbey and Mia Toole, their cousin Jaymi Toole, and brothers Alex Toole and Jordan Rouse, have been performing together all their lives. Since their early beginnings in 2016, Little Quirks have grown into an international touring act, sharing stages with The Teskey Brothers, Frank Turner, The OG Wiggles, and The Cat Empire, while dazzling crowds at major festivals like Colours of Ostrava (Czech Republic), Kendal Calling (UK), and Bluesfest (Byron Bay).

Their self-titled debut album has racked up millions of streams since its 2024 release, and now they’re back with a brand-new EP “The Beast,” out now. With tracks like the summery, ’60s-inspired “Honey” and the heartfelt anthem “Everything but the Title,” this EP signals an exciting new chapter for the band, which is produced by the acclaimed Jack Nigro.

Fresh off a massive national tour with The Cat Empire, Little Quirks are set to make 2025 their biggest year yet. Whether you’re streaming their EP or catching them live, one thing’s certain; this family band leaves nothing in the tank when it comes to their music.

“The Beast” is in stores now.

Charlie Davidson is a singer, songwriter, and producer hailing from from the east of Scotland. Honing his songwriting craft over the years—from playing about with a Casio keyboard at nine years old to expanding into full scale production later in life—Charlie has developed a knack of writing snappy pop songs.

Taking inspiration from the likes of fellow Scot Lewis Capaldi and the mighty Fleetwood Mac, Charlie has dropped his debut single “HeartStop.” Blurring the lines between these contemporary and classic sounds, “HeartStop” sparkles from the fist note to the last. Characterised by memorable hooks and earworm-like choruses, Charlie’s upbeat delivery and shimmering production is on full display.

The release of “HeartStop” is off the back of Charlie being featured on BBC Radio as well as a semi-finalist in the International Songwriting Competition. This led to the signing of a publishing deal with Grammy-winning songwriter and producer Eliot Kennedy’s Steelworks Songs company, and the first single of many planned over the coming year.

“HeartStop” is in stores now.

Spanish-born and Manchester-based, Isabel is a 24-year-old singer, songwriter, and producer redefining the sound of modern pop and R&B. Blending pop, soul, R&B and her Spanish roots, she crafts a sonic identity that’s both rich and deeply emotive.

Taking inspiration from icons like Billie Eilish, Cleo Sol, and Jorja Smith, Isabel has developed a distinctive style marked by stunning vocal depth and an ability to pull listeners into her world. Her latest release, “Delusional,” offers a glimpse into an upcoming collection of deeply personal songs. Speaking about the track, Isabel shares, “I wrote this song a year ago, daydreaming of getting to this point—I guess I was being a bit delusional, but it worked out!!”

2024 was a breakthrough year for Isabel, her heartfelt cover of Thee Sacred Souls’ “Can I Call You Rose?” went viral, amassing over 40 million views across social media and introducing her voice to audiences worldwide. With her unique sound and rising global presence, Isabel is an artist you’ll want on your radar.

“Delusional” is in stores now.

Some bands fade into the background of memory. The Lemonheads never will. Their records from the ’90s remain untouchable, jangly pop songs dressed in alt-rock grit, and I’ve played them until the grooves wore thin. Which is why I’ll show up for Evan Dando whenever he rolls through town.

This isn’t the model-handsome Dando of thirty years ago. Life has roughed him up, and he has never hidden it. That history walks into the room with him. What matters is the music. And when it landed, it was fucking magical. Opening with “The Great Big No” and diving headfirst into Come on Feel the Lemonheads for its 30th anniversary was pure electricity.

For many of us, the band’s peak lives in that one-two punch of It’s a Shame About Ray and Come on Feel the Lemonheads. The first gave them their breakthrough, alt pop sharpened into gold. The second blew the doors open. Come on Feel is, for me, perfection from start to finish.

Hearing it live in 2025 was a reminder of just how deep that record runs. “Down About It” hit with fresh weight. “Big Gay Heart” was gorgeous, cracked and soulful in all the right places. “Paid to Smile” and “Into Your Arms” sounded timeless. It was a celebration of one of the most celebrated albums of the ’90s, a record that proved the Lemonheads were more than the flavour of the month.

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Alt-pop’s newest provocateur, Marlowe (they/them), arrives with a debut mini-album that refuses to play by the rules. “Submissive” is an intoxicating blend of hedonistic dance-floor anthems and sharp, confessional lyricism, cementing Marlowe as one of the most exciting voices in the genre’s next wave.

At its core, “Submissive” is an exploration of identity, control, and the silent tug-of-war between societal expectations and personal autonomy. Across its seven tracks, Marlowe unpacks what it means to be caught between craving structure and resisting conformity, all while crafting euphoric, pop-driven soundscapes.

Early singles like “Give It Up” and “Sweatbox” set the tone, fusing throbbing basslines with shimmering synths that wouldn’t sound out of place in a sweaty, neon-lit club at 3 AM. Meanwhile, “Invincible” is a soaring alt-pop anthem that wears its vulnerability proudly, echoing the candid emotionality of artists like Troye Sivan and Olly Alexander.

Speaking on the project, Marlowe describes it as “a song cycle that explores the unravelling of a people-pleaser” and it shows. There’s a confessional intimacy woven into each track, a storytelling instinct rooted in Marlowe’s Venezuelan heritage and sharpened by their life in London’s thriving queer music scene.

“Submissive” doesn’t just soundtrack the dance floor; it challenges the listener to examine who’s really in control… us, or the world around us. It’s clever, cathartic, and utterly addictive. A fearless debut brimming with alt-pop swagger and emotional depth.

“Submissive” is in stores now via Plant Pot Records.