Category Archives: TVD UK

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.

With influences ranging from Sasha Keable and Phoebe Bridgers to Matt Corby, rising star Lily Agnes has been making waves since the release of her debut EP “Lucid Dreams” in March 2023.

Known for her ability to write far beyond her years, Lily has already collaborated with some of the most exciting names in the scene, including Lizzy McAlpine, Conor Albert, and James Smith. Her soulful indie sound blends vulnerability with vibrancy, offering a raw, heartfelt exploration of what it means to be a 20-something navigating life, love, and self-discovery in the city.

Her latest single “why can’t we be young?” is out now. Co-written in early 2023 with the incredible producer edbl, Lily describes the track as “a gorgeous love letter to friendship and growing older.”

After kicking off the year with her vintage pop duet “been a minute” alongside Gareth Donkin, Lily shows no signs of slowing down. A multi-genre collaborative project is on the horizon, setting the stage for 2025 to be her biggest year yet. If you haven’t already, now’s the perfect time to dive into Lily’s world.

“why can’t we be young?” is in stores now.

This week, we’re shining the spotlight on Mali Hâf, a rising Celtic alt-pop artist whose music blends mysticism, power, and raw emotion into something utterly unforgettable.

Hailing from Cardiff, Mali is more than just a singer-songwriter; she’s a storyteller, a visionary, and a proud Welsh Wiccan whose roots run deep through her sound. Her music channels a kind of sonic witchcraft, weaving together ethereal melodies and haunting harmonies with lyrics that celebrate identity, empowerment, and the Welsh language itself.

2025 has already been a huge year for Mali. She was named joint runner-up in this year’s Glastonbury Emerging Talent Competition, earning not only critical acclaim but also a coveted slot at Glastonbury Festival alongside fellow newcomer Nat Oaks. On stage, Mali’s presence is magnetic; sensual yet fierce, delicate yet commanding. In the studio, her creativity knows no bounds.

Her recent single “Llais” (Welsh for “voice”) was born from a moment of introspection and evolved into a celebration of gratitude and empowerment. Following her bold feminist reimagining of the Welsh national anthem, Mali continues to use her platform to amplify voices and challenge norms, proving herself as one of the most exciting alt-pop artists to watch right now.

And there’s even more on the horizon: this October 2025, Mali embarks on her first-ever headline UK tour, bringing her ethereal soundscapes and spellbinding performances to audiences nationwide. For fans of mystical storytelling, powerhouse vocals, and Celtic-inspired alt-pop, Mali Hâf is the artist you need on your radar.

It’s the seventh time I’ve seen the band, and I finally get it. The Dead Daisies aren’t a project, a novelty, or some revolving-door experiment. They’re a good fucking band. And at Islington Assembly Hall this week, they proved it in front of a packed house that still believes loud guitars and pounding drums matter.

Doug Aldrich walked out looking healthy and dangerous. Thank the metal gods for that. He is a rare thing now; a proper guitar hero. Not the kind with empty flash or soulless shred, but one who bends every note until it screams. Watching him rip through “Light ’Em Up” and “Mexico” felt like being punched in the chest and grinning through it. He could coast on ego if he wanted. Instead, he plays like it’s the last night on earth.

John Corabi doesn’t just front this band; he drives it. He looks like he’s having the time of his life, and that energy bleeds into every word he sings. His voice was sharp, dirty, and unrelenting, whether tearing through “Long Way to Go,” throwing weight behind “Rise Up,” or dropping it down for an acoustic “Love That’ll Never Be.” He’s not trying to be anyone else. He’s Corabi, and he’s locked in.

The setlist was pure muscle. “Dead and Gone” came early and hit like a bar fight. “Bustle and Flow” slithered and stomped. Then came the kind of move that separates men from boys: a drum solo. Tommy Clufetos made the kit look small. He pounded it into submission, then blew it apart in a solo that felt like he’d dragged Tommy Lee into the parking lot and buried him there.

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This week’s spotlight shines on the ever-evolving Mac Lloyd, a boundary-pushing artist and producer who continues to captivate with his distinctive blend of soul, indie, and hip-hop. His latest single, “Over The Mill,” proves once again that he’s an artist unafraid to challenge convention and tap into the emotional depths of the human experience.

“Over The Mill” offers a taste of what’s to come from Mac’s highly anticipated debut album, expected later this year. The track threads together classic Boom-Bap beats with eerie, bluesy Americana textures and gliding guitar lines, all wrapped in a heavy-lidded haze of melancholy.

Lyrically, Mac explores themes of depression, addiction, and the slow erosion of mental health—especially poignant after long stretches of self-discipline. But this is more than just personal introspection. As Mac explains, the song also takes aim at the bigger picture: corrupt governments, widening inequality, and the grinding weight of systemic failure on working-class communities.

If you’re new to Mac Lloyd’s work, his genre-defying sound is rooted in what he calls Melancholic Soul—a label that barely contains his versatility. Whether you’re drawn in by his rich production, raw lyricism, or genre-blurring style, one thing’s clear: Mac Lloyd is an artist with something to say—and the sound to match.

“Over The Mill” is in stores now.

This week, we shine the spotlight on PELOWSKA, an Edinburgh-based duo making waves with its cinematic, synth-laden sound and raw, emotional storytelling.

Their latest single “Deep Water” is out now and is a bold, haunting release that confirms their status as one of Scotland’s most intriguing acts. Drawing comparisons to trip-hop icons like Portishead and Massive Attack, PELOWSKA fuse retro synths, brooding atmospheres, and evocative lyrics into something entirely their own. At the heart of it all is vocalist and producer Aneshka Pelowska, whose story behind “Deep Water” adds another layer of depth.

“I almost drowned in a lake in Croatia as a teenager,” Aneshka shares. “It was one of those moments where you truly believe you’re going to die… then something supernatural pulled me back to the surface.” That terrifying yet transformative experience became the emotional crutch for the track, brought vividly to life through a collaboration with renowned Croatian composer Marko Tomasovic and a stunning video directed by Simon Hay.

Aneshka and bassist/guitarist Dave Tynan had circled each other musically for years before a fateful accident brought them together—a glass of wine, a fried laptop, and months of lost work. That setback sparked a powerful new creative partnership. Check out the best website builder for musicians and why it’s number one.Today, their music explores mental health, survival, and resilience—anchored by Aneshka’s position as one of the few female producers in the industry, and her journey as a Polish immigrant forging a path in a new country, with nothing but talent and determination to guide her.

“Deep Water” is in stores now.

This week’s Artist of the Week is JT Leon, a Bristol-based artist whose fearless creativity and emotionally rich songwriting are lighting up 2025’s musical landscape. Teaming up with Louisville producer Cyntrix, JT makes a stunning return to the dance floor with new single “Make Believe,” the first single taken from their upcoming project Sounds You Never Heard Pt. 2, set for release in October.

Originally penned over a decade ago, “Make Believe” has finally emerged, and it couldn’t feel more relevant. Reimagined through the visionary lens of cyntrix (known for their genre-fluid production style), the single bursts with dancefloor energy while holding space for something deeper. It’s shimmering, expansive, and unafraid to confront the chaos of our times.

JT’s soaring vocals ride atop glittering synths and lush textures, delivering a message that resonates far beyond the club. In a world weighed down by climate anxiety, political division, and the ongoing erosion of LGBTQ+ rights, “Make Believe” dares to declare that hope is not weakness; it’s power. It’s a protest song in disguise; euphoric, anthemic, and brimming with conviction.

Whether you’re dancing with joy or defiance, “Make Believe” is a track that hits the heart and feet alike. It’s not just music, it’s a movement.

A meeting of musical minds, alt-pop duo PostLast and producer Arveene have come together to bring a new musical perspective on PostLast’s 2024 debut single “Connect 4,” out now.

Arveene’s remix credits read like a who’s who in electronic dance music, including Mr. Oizo, The Prodigy, Felix the Housecat, Zombie Nation, Ashley Beedle, and Kelis on labels such as Kitsune, Ed Banger, Bang Gang, Turbo, Universal, Song, and many more. This time around, he dug deep into the musical stylings of Detroit’s classic techno scene and resurfaced with “Connect 4—Arveene’s 313 Remix.”

PostLast is extremely excited to have its work be adapted to become part of Arveene’s catalogue. His recent studio productions have seen him cut up Mango & Mathman into a hip house roller (Record of the Week, 2fm), score deep melodic breaks for Saint Sister (Record of the Week, 2fm), add finishing touches to Solarr by Talos, take Ria Rua to the big screen with his remix of “Asking For It” being synced to the new Nicolas Cage and Lorcan Finnegan movie. He also produced Kneecap’s “Get Your Brits Out,” “Fenian Cunts,” “Mam” (Record of the Week, 2fm), and “I bhFiacha Linne” on their current album with Toddla T.

After a glittering start in 2024, PostLast has a series of remixes of tracks from their debut EP, “Pull Me Into The Open Sea,” lined up for the coming months. So keep an eye on all things PostLast for some new perspectives on their classic alt-pop sound.

Maybe I’m late to the party, but I finally get it. Wet Leg’s second album Moisturiser just shot straight to number one, and after witnessing their “outstore” at Electric Ballroom, the critics’ darling status makes perfect sense.

Smart lyrics, just the right amount of attitude, and the perfect record label in Domino create this ideal storm of buzz, delivery, and execution. The sound hits like a very potent mix of Yeah Yeah Yeahs and Stereolab. Familiar enough to grab you, distinct enough to matter. The record is good, but the live show is 10 times better. This is one of those bands where you absolutely have to see them live to understand what all the fuss is about.

Originally slated as an instore at Rough Trade, demand pushed it to Electric Ballroom, one of my favourite venues in London. They even had to add a matinee show that sold out in minutes. Thank God for that, because I hate outdoor festivals with the passion of a thousand suns. I’m more of an indoor cat. I want to see bands have full control of lights and stage, be within striking distance of each other and the crowd, not sprawled across some massive outdoor stage like they’re performing for ants.

It was relentless and didn’t let up for even a second. Maybe it was a shorter set, but the audience didn’t get a chance to breathe. Rhian Teasdale was like a cross between Iggy Pop, Peaches, and a bit of Wendy Williams. She made it look like she’d been doing this her whole life while most frontpeople are still trying way too fucking hard. Maybe a bit cliche to say, but it was mesmerising. A trip back to the ’90s when you heard the Breeders for the first time, or witnessed post-punk and post-modern collide in real time.

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From the rural hills of Oregon to the vibrant streets of Manchester, meet Nyah Grace, the neo-soul newcomer whose sound is turning heads on both sides of the Atlantic.

Nyah has recently released her stunning sophomore album Divinely Devoted, out now via Palawan Productions. The album is a stripped-back yet emotionally lush record featuring ten captivating tracks that showcase Nyah’s pinpoint songwriting and silk-smooth vocals. From start to finish, the album is a masterclass in modern soul and R&B.

Rooted in influences like Billie Holiday, Alicia Keys, and Estelle, Nyah Grace’s sound blends heartfelt R&B storytelling with a smoky, soul-driven edge. Her music invites comparisons to Mahalia and Lauryn Hill, yet she brings a distinct intimacy and depth that sets her apart. Whether tackling heartbreak or empowerment, her voice is both rich and resolute—and always deeply personal.

Talking about her latest single “Down,” Nyah says, “Writing ‘Down’ was a cathartic experience for me. It allowed me to channel the frustration, angst, and eventual acceptance that came from a past relationship. I loved experimenting with the space and dynamics in this song and giving my raw emotions room to breathe.”

With live shows on the horizon and an album full of deeply resonant material, 2025 is shaping up to be a breakout year for Nyah Grace. Whether you’re a long-time lover of soul or a new-school R&B devotee, this is an artist you need on your radar.

Rising four-piece Azamiah recently released their celestial new EP “Two Lands,” serving as a beautiful bridge between their stunning debut and what excitement lies ahead.

Rooted in jazz but reaching far beyond its borders, their sound weaves electronica, dub, neo-soul, and rich vocal textures creating musical landscapes that shift between moody introspection and luminous calm. Their new EP is a body of work filled with emotional honesty and a renewed intensity. “In a way, the songs feel more full,” says Norman Villeroux (bass). “Just because we’re giving it more energy, and more power.”

Azamiah is comprised of INDIA BLUE (vocals), Josef Akin (keys), Alex Palmer (drums), and Norman—they escaped the city life for a writing residency in rural Suffolk. Surrounded by rolling fields, they turned their focus inward. It was here, amid the calm of nature, that their title track “Two Lands” was born. “It represents that moment,” says INDIA BLUE. “It felt symbolic of this time of music-making. I’m never really separate from nature, because I myself am part of nature… This song is about going to a natural environment, planting some seeds in a fertile land, and leaving it to nature to let them grow.”

Azamiah invites you to step into their world—one where nature, spirit, and sound flow freely together.

“Two Lands” is in stores now.