Once in a while, there’s a band that comes along that just seems to get everything right. It’s quite extraordinary to see, and it doesn’t happen often. Sometimes, just sometimes, the combination of aesthetics, sound, and lyrical content are done with such hermetic care and enthusiasm that the results are, as scientists say, self-evident. Meet Cwfen, the latest edition of this phenomenon. Hailing from Glasgow, these Scots bring some more of that branded septentrional reverbing that’s so prevalent up north in the form of “doomgaze,” a genre that already has a few adherents. Cwfen are Mary Thomas Baker on bass, Rös Ranquinn on drums, Guy de Nuit on lead guitar, and Agnes Alder on vocals and rhythm guitar. Theirs is a story of quick success. What started as a darkwave project turned into a fully realised outfit over the course of two years. On stage, their presence is electrifying; with Agnes’ chillingly raw vocals soaring over Guy’s doom/post-punk-y riffage. Agnes is usually in dramatic stage attire, blackening her eyes and wearing all manner of stage getups all in the name of enhancing their larger-than-life aura. It is altogether arresting and charming, leading to a sharp uptick in interest both within the local scene and across vast reaches of the internet. It’s still early days for Cwfen, and who knows, you may be seeing this article in the far future looking back to see how things were prior to the release of your favourite band’s first album, so to make it easier: as of right now, it certainly seems that this group is headed for great things. Their first LP is entitled Sorrows - an apt name, as this album is like an elegy (or a coronach). There are many sorrows that encompass this album: social justice, struggles with identity, self-determination, and the anger that results from wanton injustice. It is a dreamy reflection of the ills of modern society as seen through the eyes of Cwfen. It makes for a dark listen. The first track is one of the three ‘Fragments’, experimental tracks that run through the album and act as segues that utilise hypnotic sounds, backmasking, and other such Beatles-esque ‘White Album-isms’. It then bursts through with the first full track, ‘Bodies’. Drummer Rös Ranquinn enters in with a crash before sallying out on a 16th note groove that lends the song its slow but deliberate pace. Agnes calls to some terrifying feminine god in the black ether, “howling into the void”. The single cover for this track is similarly striking, portraying a woman with her guts splayed open in a distinctly yonic look. While the track is predominantly Agnes’ more subdued soft singing style, it ends with her harsh vocals as raw as blue steak. More distorted ambience leads into the distinctive riff of ‘Wolfsbane’. Sounding like the crossroads between New Order and Slayer, Guy’s tone is self-described as “when you plug a cold instrument into a warm amp”, which stands as a suitably apt description, given the bitter chill and warm resonance his strings provide simultaneously. ‘Wolfsbane’ is a more animated song than its predecessor; the imagery is violent and provocative - “the men have had a thousand years to make us quiet wives”. It’s the bitterest of revenge songs; seven minutes of ice-cold riffage describing a group of were-witches tearing their abusers into shreds and drinking their blood. What’s not to like? This group must really love backmasking, because the lead-up to the next track ‘Reliks’ is once again in reverse. The riff for this one is more subdued, as are the vocals for the most part. Though Agnes’ vocals still cut through, the chorus features some powerful delivery (“I don’t wanna die like this!”) underpinned by the low riff marching on alongside the drumline. Once again it crescendos out with soft and harsh singing in glorious dis-harmony as the musicians kick it up a notch, whereby Agnes then performs a spectacular rallying call before they let the feedback screech them out. ‘Whispers’ begins with a slow, reverb-ed up drum intro, sort of like ‘When The Levee Breaks’ on a ketamine binge. The riff is magnificent in its post-punk finery, as Mary Baker’s bass also yields some serious gravitas for the song through its pounding echo. As for the vocals, well, they’re subdued again, to be expected for a song called ‘Whispers.’ Agnes is in her natural low register here; it’s a sultry style of singing that, alongside the riff, renders this number as thick as tar. There are obvious Type O Negative comparisons that could be made here, but this song sounds far more like something from Lana Del Ray’s ‘Born To Die’ if she swapped out Gatsby for Lovecraft. As well as that outro, the blackened screaming complimenting the softer vocals sets this one perfectly. After another ‘Fragment,’ there’s that slow-burner that exposed so many people to this band; ‘Penance’. A tom heavy beat and that diabolical riff make this one swing low like one damn sweet chariot. It is fiendishly heavy. Agnes’ screams, ripe with righteous indignation, render this one the most intense cut on the record. It’s cathartic, in a way. That final “assemble the penance” sends shivers down the spine. Chilling stuff. One last ‘Fragment’ of the stormy highland variety leads into ‘Embers.’ The riff here is Big Country on morphine, placed upon a sorrowful chorus with a pleading Agnes asking, “do you want to start another fire?” The passion is palpable throughout, both beautiful and haunting in its ethereal elegance, whilst the bounding main riff juxtaposes the beauty with ruggedness, a love that can never be in a society that will never allow it. Laced with longing and fury in equal measure, the song has a biting emotional core that stays with you. Then comes the final song, ‘Rite’, a number on self-determination and the ability to choose the right to die. The overlaying textures result in a chorus toward the end where a crescendo for the song, or the entire album, slowly rises until it reaches a breaking point. And once it abruptly ends, you’re left aching for more. Cwfen’s Sorrows is far more than just an impressive debut; every track serves the broader emotional and thematic architecture of the album: the fragmentation of self, the ritual of mourning, the endless struggle for power and personhood. These are not incidental themes; they’re woven into the songwriting, the pacing, and even the thematic choices deliberately. What makes Sorrows really stand out is its temperance. Cwfen are unafraid of wading into doom metal territory when the need arises, they don’t rely on genre tropes as crutches but instead elect to use them as they see fit, shaping doom, shoegaze, goth, and post-punk into something coherent and uniquely theirs. They never seem to venture too far into one territory, instead managing a delicate balance that keeps the listening experience fresh. The band’s chemistry is palpable across every track, and their interplay feels rehearsed - not in the mechanical sense, but rather in the way of artists confiding in one another and the world they’re building. The album is heavy. Sonically, emotionally, thematically, but never inert. It moves. It builds. Each song is a departure from the other and all feel independently realised. And it ends not with resolution, but with fissure. That final gasp of ‘Rite’ leaves you hanging in a sacred silence. In the ever-bloated digital necropolis of releases, Sorrows feels alive. It's not trying to be everything to everyone. It’s specific and intentional in its vulnerability. There’s an unspoken confidence here, for a debut it carries the assurance of a band that already understands their voice, not as a gimmick, not as a PR marketing strategy. It feels more like the product of people who’ve spent much time figuring out their identities and experimenting with them, pushing against genre expectations, and then ultimately finding something that resonates deeply - something unafraid to be itself. Music for music’s sake. Cwfen have made something that demands attention, and suggests longevity in the years to come. If, given time, the band can expand upon the sounds established in this debut release for their sophomore album, then you can expect to witness how far this genre can go. Watch this space. Score: 9/10 Sorrows will be released on May 30th 2025 via New Heavy Sounds. Words: Kiarash Golshani Photos: Marilena Vlachopoulou

More than a decade since it was last heard, Les Maîtres Fous - the once-forgotten live piece from French post-metal collective Year of No Light - finally sees a proper release via Pelagic Records. Originally commissioned for Paris’s Musée du Quai Branly in 2012, this haunting and visceral two song performance was conceived as a response to Jean Rouch’s controversial 1950s docufiction of the same name. Captured during its final airing in Bordeaux in 2015, Les Maîtres Fous stands as a stark, unsettling artefact of the band’s most emotionally demanding work to date - a slow-burning, ritualistic descent into hypnotic noise, tension, and release. As the band nears its 25th year, this archival unearthing is less a nostalgic nod than a brutal reminder: Year of No Light still dares to tread where few others will. 'Track One' opens like a memory coming back to life - with the soft crackle of static, like a needle hitting a vinyl record. It’s subtle but instantly sets a mood, pulling you into Year of No Light’s world of shadow and sound. From there, the guitars creep in, slow and ominous, joined by eerie string arrangements that feel almost otherworldly. There’s a sense of something building - a ritual unfolding or a battle scene viewed in slow motion. About halfway through, something unexpected happens: a brief burst of vocals pierces the haze. It’s raw, haunting, and deeply unsettling - like a voice calling from beyond. It’s the kind of moment that makes you stop and listen more closely. The track swells and crashes with all the weight the band is known for - layered guitars, dual drumming, and sheer intensity - before slipping back into the quiet it came from. 'Track Two' feels like the comedown. If the first track is the storm, this is the strange, echo-filled silence that follows. The focus shifts to the strings - soft and ghostlike - letting the track breathe and mourn. It’s slower, more reflective - almost peaceful, but never quite at ease. A tension simmers just below the surface. Then, out of nowhere, the guitars explode back in. It’s not chaotic; it’s controlled and deliberate. The drums hit harder, the vocals return - this time more pained, more urgent. You can feel the weight of everything that came before. As the energy fades, the track winds down to the same static that began the album. A single, trembling string note lingers in the air like smoke. Les Maîtres Fous isn’t your typical live album. Originally performed just twice and recorded in 2015, it plays more like a sonic document - a deeply felt response to Rouch’s provocative film and the ritual practices it portrays. Year of No Light have always thrived on pushing boundaries, blending sludge metal with shoegaze, black metal, and ambient textures. But this release feels different. It’s deeply emotional, sometimes overwhelming, and clearly personal. Nearly 25 years into their career, Les Maîtres Fous proves the band remains unafraid to explore the difficult, the dissonant, and the deeply human. Score: 7/10 Les Maîtres Fous was released on May 23rd 2025 via Pelagic Records. Words: Mia Gailey Photos: Year of No Light

Turnstile, as a band, are many things. They are probably the largest hardcore band in the world, certainly top two with Knocked Loose. They are the writers of what might be the best record of the 2020s in the spectacular GLOW ON. They even inspired your favourite online heavy music publication's name with their song 'Out Of Rage', off of their 2015 album Nonstop Feeling. All of these things add up to the fact that they are, inarguably, one of the most essential bands in the modern era of music. The fact they're coming back to the UK to headline Outbreak's Friday in London, their first ever full-size southern event, is frankly just a cherry on the top of the fact that they're also releasing a new album at the same time, so there's hardly a better band in the world for us to discuss the discography of - and with that, here are their top ten songs according to one of our managing directors. 10) Never Enough Wow, it's good and all, but tenth already? Sure, plenty of you may be thinking something like that, but think again about just how addicting the track is and how regularly you've likely had it on since release day - can you say for certain that it DOESN'T belong in the top ten? The rise of shoegaze's influence permeating heavy music has caused a paradigm shift across all genres within, and hardcore is no exception. This has been seen within Turnstile's music before, notably on GLOW ON, but it's even more pronounced here, until the gear change that kicks everything off and causes an instant hit of dopamine. This will be a glorious moment at Outbreak this year, and if you disagree then just wait and see. 9) Death Grip A sadly much-ignored area of the band's discography, the early EP's are still a treasure trove of goodies for the discerning hardcore fan. Featuring more overt hardcore sounds than a lot of their later releases, Death Grip (not to be confused with the band with the rather similar name) is a pure banger. Taking all the energy of Turnstile old and new, but running it through a little bit more of an aggressive tone, you get the crowd-obliterating tune that is Death Grip. Custom-built for the stage, there is no world in which this song doesn't cause spontaneous eruptions of movement at any performance - we can only hope it's brought out for Outbreak this summer. 8) Mystery Opening up the best and biggest hardcore record of the decade is no mean feat, but when it's this good, it just feels natural, like it was meant to be there. Creating a powerful duopoly of both energy and explosiveness, and also expectation for the rest of the album, is damned difficult, yet it's handled with grace on Mystery. The slight shoegaze influence of modern Turnstile started here, and we'll be eternally grateful for that, as well as for kickstarting the 2021 GLOW ON extravaganza. 7) Time + Space Hardcore loves a sample to open a track, and the finale and title track on Time + Space has one that fits better than most. Utilising some almost relaxed "Ooo-oooh" chants along with the barely contained guttural energy across the song is a masterclass in musical juxtaposition, to alternately soothe and enrage the listener in one last-ditch attempt to mess up a room totally and utterly (spoilers - it'll work). 6) Blue By You What a strange song this is. Somehow both a high-energy hardcore adjacent track about a soul sucking relationship and also a pop rock track for the sad boys, Blue By You appeals to a broader set of music tastes in less than a minute and a half than most albums. Doing such a genuine track about a topic so outside the typical hardcore sphere isn't a simple move, but Turnstile pulled it off with aplomb on what is still one of their catchiest songs, period. 5) Step To Rhythm The titular finale to the band's first LP, Step To Rhythm has a nasty riff that repeats throughout, which is a very large part of why it's on this list. Not to be called just a riff track, though, this song is immensely singable and has just enough tempo changes to satisfy pretty much every member of the pit. An early cut to be sure, but one that displays incredibly clearly the potential and ability, Turnstile already had at this point of their career. 4) Holiday Any song that's good enough for a Taco Bell advert is good enough for us - but aside from its brief stint as the sound of questionable Mexican takeaway, HOLIDAY is a hardcore track with a groove that runs as deep as possible. Two-steppers worldwide have enjoyed this track from the moment it came out, and will continue to do so for many years. The refrain of "So I'll never feel the cold" is an instant sing-along, and combines so effortlessly with the devilishly delicious riff that runs below it. 3) Real Thing Don't tell me that the opening to Real Thing doesn't get you fired up, you know you'll be lying to both yourself and me. Those drums keep everything cruising along, whilst the yelled "Can't keep it all together, waiting for the real thing" just hits harder and harder every time it comes on. As the opener for Turnstile's 2018 album, it rips you headfirst into the gloriously high-energy world of theirs and doesn't dare let you go until they've suitably spun you about the place and left you absolutely unable to think of anything aside from finding that very important real thing. 2) Keep It Moving Coming out of the gates surprisingly slowly, Keep It Moving doesn't sound like it's going to do quite that until the drums take everything up a notch. After that, we're in prime hardcore rager territory, and even this early in the band's evolution, we can hear hints of the shoegazey path they are now firmly treading. With a rare Turnstile guitar solo making an appearance on this cut from Step to Rhythm, that then cuts to a gnarly breakdown that's sure to evoke grimaces all about the room, there is genuinely not much more this track could have in it. 1) Blackout I defy you to find a single hardcore song that has the same blisteringly anthemic quality as BLACKOUT. From the undeniably groovy cowbell rhythms, the surprisingly deft bassline and the fuzzy five note lick mid-chorus, it's a demonstration of all the very best bits of Turnstile, and the possibilities within hardcore to expand an untold amount, and still encompass the quintissential rage, energy, and visceral feeling that no other genre can quite touch. There aren't many bands who have a discography that bursts at the seams like this one, but even amongst the enormous selection of brilliance, this song still rises to the top - both on record and in the flesh- as the one that just can't be beaten. Catch Turnstile at Outbreak Festival this summer! More information can be found on the Outbreak Festival website. Words: Jake Longhurst

Breakout punk trio Winona Fighter have finally made their way across the pond after the release of their debut album ‘My Apologies to the Chef’ in February of this year. Their sold out show at The Black Heart is their first ever London show and being a headline show it truly was special. Winona Fighter started their music journey in Nashville in 2022 with the release of their first EP ‘Father Figure’ capturing the ears of punk listeners around the world. The ‘Yes Chef’ Tour has been in high demand with extra shows being added left and right, it's no wonder their name is popping up more and more in discussions of the best up and coming punk bands! The Black Heart was teeming with battle jackets and black boots as the kick off time approached, everyone making their way up the stairs to the venue where ‘Young Fatigue’ were about to start warming up the stage. The young British punk trio burst onto the stage with an abundance of energy, ready to show the crowd that may have never heard of them what they're made of. The band have been consistently releasing singles since 2020 but exclaimed they were very surprised to receive an email from the likes of Winona Fighter, not even believing at first that they'd be asked to open for them. Young Fatigue did not fail at getting the crowd moving and warmed up with banging tunes and great banter with the crowd. They made everyone comfortable while giving them chances to bang their head and clap or even sing along. Lead singer Ash Dixon was truly impressive, vocals reminiscent of an early 2000s british punk band and stage presence that is certainly undeniable. This trio is definitely worth the time of any punk fan and we hope to see them again for more raging shows. The room filled out with people shoulder to shoulder from the very front to the very back of the venue. Winona Fighter gallivanted onto the stage receiving overwhelming cheers as they erupted into their first song ‘You Look Like a Drunk Phoebe Bridgers’. The crowd immediately started moving, forming mosh pits despite the lack of space to do so, these punks found a way. The band paraded one song into another keeping the ball rolling and the energy high before finally pausing for a moment. Lead singer Coco took a moment to introduce themselves and told the crowd they would be singing their entire new album at this gig, receiving huge applause from the fans, before kicking straight back into song. Despite only being a few songs in, the crowd were loud enough to sing some of the lines for Coco as she took a moment to exclaim how crazy the crowd was. One fan heckled that he wanted to start a circle pit on just the third song of the set “Who's gonna start a circle pit with him then!” the band encouraged and sure enough the crowd made it happen. Winona Fighter went on to play bangers like ‘ATTENTION’ and ‘JUMPERCABLES’ as the room bounced so hard you could feel the floor moving beneath your feet. The trio had brilliant banter with the crowd talking about football, or soccer as they call it, about how they are allowed to say the word ‘cunt’ on stage which was immediately followed by chanting of said word and even talking about where some of the crowd where from, some from as far as Atlanta and Chicago. As if the crowd wasn't hyped up enough, Winona Fighter decided to play a blazing cover of ‘Song 2’ by Blur getting even the bartenders singing and jumping along. As they drew to the last act of the show Coco told them they would not be leaving to stage to “go and stand in a tiny room” before performing an encore, so these last 5 songs in fact were the last 5 songs. Which of course led to more banter with the crowd, it’s hard not to smile seeing how the band interacted with the fans. Coco took a moment to tell the fans how they should chase their dreams, as scary as that can be to make the first leap to just do it, this was clearly received by the fans as they sang the next song with every piece of their soul. It's rare to see an audience that is so connected with the lyrics they're singing, you could tell every person in the room felt the words. As the band started to close Coco got slightly emotional before playing their last song ‘HAMMS IN A GLASS’ the crowd encouraged Coco as she held back her tears and closed off the gig with the biggest mosh pits and loudest cheers of the night. She ended the set by surfing on the crowd, despite the low ceiling, from the front to the very back of the venue and then back again, hi fiving fans all along the way. It's impossible to deny the impact these guys are having and the waves they are making in the punk scene. Winona Fighter are continuing their tour back in the US with over 20 shows and are also scheduled for many festivals through the rest of the year, stopping off this weekend for the almighty Slam Dunk festival. Words: Amy Smyth Photos: Anna Goley

After a string of electrifyingly raw live shows, Kissing On Camera have finally delivered their debut EP Baby Names, and it lands with all the urgency and bite of a band desperate to be heard. This is not a timid first outing. It is a whip-crack of noise and feeling, five tracks of emo-soaked alt-rock that bristle with anxiety, defiance and chaotic charm. The Dublin-born, London-based quartet channel their city-hopping angst into a record that feels like a jittery diary entry scrawled at 3AM. The guitars are jagged, the vocals waver between confession and catharsis, and the lyrics teeter on the edge of breakdown and breakthrough. The EP kicks off with 'Corner Couch', a storm of twitchy riffs and emotional unease. There is something mundane and intimate about the image of a corner couch, but the track flips that comfort on its head. Instead of relaxation, we get suffocation. The drums rattle like nervous thoughts while the vocals ride the chaos, with just enough control to stay standing. It is an opener that sets the tone perfectly. This is music that bleeds and sweats and shakes under the weight of its own feelings. Next comes 'Tag, You’re It', a two-minute burst of panic and frustration that captures the headrush of youth and the confusion of being caught between roles. The rhythm section here is relentless, almost sprinting beneath the track’s jangling guitars and frantic vocals. It feels like being chased by your own thoughts, breath catching in your chest, always one step behind what you meant to say. There is a lot of charm in how rough around the edges this one feels. It is the sound of a band refusing to smooth out the mess and instead throwing it at the wall with pride. 'Lil’ Horse' is the strangest and perhaps most endearing track on the record. With a title that suggests something small and perhaps a bit silly, the song plays with contrast. It is softer in its delivery, with moments of vulnerability breaking through the noise. But even then, it never settles. The lyrics lean into absurdity, but there is real emotion under the surface. It feels like the moment in the setlist where the room quiets for just a second before the crash returns. Then comes 'Voice Actor', which has already been released ahead of the full EP and is arguably the centrepiece of Baby Names. This is where Kissing On Camera’s potential really sharpens. The band said the track was about feeling like every social interaction is a performance, and you can hear it in every scream and guitar squall. The song builds and breaks like someone trying to hold it together while the world blurs around them. The chorus is an explosion of punk energy, driven by the kind of frustration that feels dangerously close to boiling over. It is loud, messy and painfully human, which makes it hit that much harder. Finally, 'Just A Kid' rounds out the EP with a bittersweet shrug. There is a weariness to it, a kind of sigh buried in the chords, like someone realising too late that growing up doesn’t come with a guide. The guitars swell and collapse around the vocals, which sound both tired and defiant. It is not a ballad exactly, but there is something aching here. The track feels like a cigarette lit in the rain, burning anyway. It is a perfect closer that ties the whole record together with a mix of self-awareness and raw nerve. What makes Baby Names so striking is not its polish. It is the total lack of pretence. This is an EP that throws everything on the table, flaws and all, and dares you to look away. The production keeps things tight enough to land the punches, but loose enough to let the sweat and spit shine through. Each track feels like a live wire moment, caught just before it burns out. For a debut, this is impressively cohesive. The band knows what they want to say, and they scream it with every instrument. There are clear influences here, from the emo crunch of Title Fight to the swirling chaos of acts like Wednesday and Alex G. But Kissing On Camera are not just copying a formula. They are twisting it into their own messy, urgent, and strangely tender version of alt-rock. This EP might be short, but it leaves bruises. And honestly, that is part of its charm. Baby Names is the sound of a band that has something to prove but chooses honesty over perfection. There is rage here, sure. There is noise and heartbreak and confusion. But there is also joy in the chaos. The kind of joy that only comes from screaming into the void and hearing your own voice echo back. Kissing On Camera are just getting started, and already they are impossible to ignore. Score: 8/10 Baby Names will be released on May 27th 2025. Words: Kelly Gowe Photos: Kissing On Camera

Since opening for Overkill in front of 70,000 people in 2023, Poison The Preacher’s popularity has skyrocketed. The band was formed in 2021 by Juan Pablo (vocals, guitar) and Sergio Cortes (drums) as a college project between two music majors, and it was not until 2023 when the band began to look like we know it today, with Juan Camilo Bernal joining on the guitar and Thomas Lopez on bass. With their very first upcoming tour in Europe in September, the band is starting to be seen on the wider radar of hardcore, trash and death metal fans around the planet, which is perfectly timed as they are just now celebrating the release of their debut album. Vs The World is a diverse release that is eclectic, energetic and engaging, all within the span of just nine tracks. The band play things relatively a little safe in committing to their respective genres, but still add in new and dynamic sounds, as they celebrate their culture throughout by expressing their Latin American roots within the heaviness found here. The band decided to dive right into action after the opening track and continued with their two collaborations, 'Sucker Punch', featuring Chris Ramos (Dead Heat) and 'Dying Every Day'+, featuring Devin Swank (Sanguisugabogg). Both songs are energetic, featuring heavy breakdowns and ear-piercing vocals. The former has a great portion of Pablo’s and Ramos’ vocals stitched together for some significant moments, whilst in the second one the band’s vocalist and Swank fill in for each other rather than combining, going for a welcoming mixture of vocals and sounds. Both pieces also include the excellence of Camilo Bernal’s guitar, Lopez’s bass and Cortes’ drums, creating two distinctive pieces that compliment each of the band's guests, allowing them to shine within the sound Poison The Preacher have curated. With the band proudly representing their own roots, we get to hear many elements from Latin American music, more specifically from Colombian traditional music, throughout all of their songs, but most obviously in 'Congelado en el Tiempo', which is an excellent fusion of their chosen genres and it creates a ‘Municipal Waste-goes-Latino’ sound, which is fairly specific to Poison The Preacher throughout their whole album. Another example worth mentioning is the last song on the album, 'Us Against The World'. We do hear the same musical elements, amplified by the razor guitar riffs and breakdowns, that make the track stand out. The track touches on the topic of what it means to be a Colombian and Latin American band in today’s global music scene - a thought that is present throughout the entirety of VS The World. Although the transitions between songs are barely noticeable - and in most cases non-existent, due to the band giving listeners exactly zero chance to stop for a breather - it is still a very interesting piece to listen to, especially for fans of the Municipal Waste, Overkill and Suicidal Tendencies. Whilst there may not be many moments to sit and reflect upon the record until it's very much done, that gives it a brutal intensity that reflects the searing passion and desire of the band themselves. The whole record promises a new perspective on Colombian-infused metal music, with a great band to help pave the way. Score: 7/10 Vs The World was released on May 23rd 2025 via Seek and Strike. Words: Katerina Stepanikova Photos: Poison The Preacher

In a rare event for Glasgow, the sun was shining, and the heat had already turned the day into a sweaty one. Despite this, as we approached the O2 Academy, people were already filtering inside for a chance to witness Jeremy McKinnon up close. This show marked the first stop on A Day To Remember’s UK and Europe Tour, celebrating the release of ‘Big Ole Album Vol. 1’, and supported by fellow Slam Dunk 2025 lineup members Split Chain. Renowned for their fusion of metalcore and pop-punk, as well as their high-energy, interactive live shows, they’ve cemented themselves as a cornerstone in the alternative space since the release of their 2009 album ‘Homesick’. Having founded their own festival, ‘Self-Help Fest’ in 2014 and sold out countless tours over their career, we had to take the opportunity to see them in action ourselves. As the lights came down, the unmistakable “WAZZUP!” scene from the 2000s classic ‘Scary Movie’ echoed through the venue, instantly setting a nostalgic tone for the night. New to the scene but rising fast, nu-metal outfit Split Chain stormed the stage to a warm welcome before a satisfying segue into ‘Haven’. Their second song, ‘Subside’, brought with it an early attempt at a circle pit, which quickly fizzled out; this was a recurring theme throughout their set. They powered through with tracks such as ‘bored. tired. torn’ and ‘Future’, before frontman Bert Martinez-Cowles took a moment to thank the headliners, joking that “our teenage selves are crying right now”. Whilst the crowd remained half-hearted and the vocals occasionally were drowned out, Split Chain never let their enthusiasm and energy drop. Their relentless passion paid off, leading to a successful wall of death during their closing song, ‘I’m Not Dying To Be Here’, leaving on a high. When A Day To Remember took to the stage, they quite literally did so with a bang, launching into ‘Make It Make Sense’ with scorching blasts of flames timed to the beat. The energy rapidly escalated as they paraded into fan-favourites ‘I’m Made of Wax, Larry, What Are You Made Of?’ and ‘2nd Sucks’, igniting the pit into utter chaos. While introducing ‘Bad Blood’ from their newest album, they joked that it was a cover of a Taylor Swift song, drawing joyous laughter from the crowd. The momentum briefly dropped during ‘Rescue Me’, their 2019 collaboration with Marshmello. This felt like a strange detour, and its lighter, electronic-infused sound disrupted the overall energy of the set. To match the more relaxed atmosphere created, giant monochrome beach balls were sent bouncing across the crowd. Shortly after, guitarist Kevin Scaff teased a snippet of ‘Walk’ by Pantera, before Jeremy shut it down with a grin and blasted into their cover of ‘Since U Been Gone’. The energy continued with ‘All My Friends’, preceded by them asking the crowd who was here with their loved ones and a round of cheers. One of the band members scuttled onstage in a Super Mario onesie and began firing a t-shirt gun across the venue, with the lucky few in the crowd triumphantly holding up their spoils throughout the song. The band kept the momentum high, continuing a trend from their North American tour and striking the first chords signalling a mashup of ‘You Be Tails, I’ll be Sonic’ and arguably their most iconic track, ‘Mr Highway’s Thinking About the End’. The pit had an energy unlike any other as Jeremy screamed the legendary line: “Disrespect your surroundings!” The performance of ‘Resentment’ was especially impressive, given that Jeremy admitted that his in-ear monitor failed during the song. He joked, “Did I sound like shit?”, and praised Alex Shelnutt’s high-hat for keeping him in-time. Leaning into the teenage nostalgia much of the audience was undoubtedly feeling, paper rolls were launched across the crowd during ‘All Signs Point To Lauderdale’, entangling and arming the pit. The main set wrapped with the beloved ‘All I Want’, and they left for a brief break before returning for the encore. They began with a stripped-back version of ‘If It Means A Lot To You’, encouraging the room to raise their phone torches and lighters. Mid-song, a fan got engaged, leading to a spontaneous and emotional first dance in the pit with much of the audience sitting down. They then shifted to playing ‘Flowers’, which struggled to lift the crowd after such an emotional ballad. Thankfully, the energy returned full-force with the closer, ‘The Downfall Of Us All’. The instantly recognisable chanting at the beginning elevated the energy in the room, ending the night on an unforgettable high. Even after more than 2 decades in the industry, they are still consistently showing up with the energy of their youth. With Split Chain setting the tone and A Day To Remember blending incredible crowd connection, nostalgia, and impressive technical skill, this night was a true reminder as to why they’ve remained top of their game and will continue to do so. Words: Chloe Sodeau Photos: Kieran Atkinson

Pure feminine rage descended onto Manchester Academy 2 with the arrival of Philly firestarters Mannequin Pussy. After the release of the spectacular 2024 album ‘I Got Heaven’, they made a casual trip last summer to play to both the audiences at Glastonbury and Outbreak, proving that they’ve made peace with both the mainstream crowds, whilst also shining brightly within the heavy music scene. Now their dazzling blend of indie rock and riot grrrl punk is back, and the band are becoming increasingly more angry at the infuriating state of the world, making their welcome return to the UK audience, making the statement that if we burn, you burn with us. However, making a quick detour to Coventry, political punk rapper Shortstraw sauntered across the stage. Energetic, loud and paying homage to Doc Cotton, this one-person army backed by their drummer, cycled through their hits with ease, getting the crowd riled up with their infectious charisma. With only three singles out on streaming services currently, we were treated to unreleased hits that carried themselves loudly on the big stage. As a new artist, there is a lot of exciting potential from this rising star, and the future is incredibly bright. Expect great things. Often, when tasked to review, overall emotions about a set are best left to the end to provide some punch and give an overall verdict about whatever act you had just watched. In this case, from the moment the band came on stage, there was no doubt about it- Mannequin Pussy are phenomenal. Warming up the stage with some of their softer singles, ‘Sometimes’ and ‘Nothing Like’, the crowd was overwhelmed with an ethereal aura. Pastel lighting accompanied the effortless ease of the set, as vocalist Missy Dabice’s voice flowed delightfully to the soft edges of the rhythm, provided by bassist Colins ‘Bear’ Regisford, guitarist Maxine Steen and Lucy Ritter, who was covering for Kaleen Reading. As a collective unit, Mannequin Pussy were incredibly tight, commanding the crowd who were swaying in unison to the slow beat. After the band played ‘Softly’ and ‘Control’, they went off of schedule as the amp they used to play ‘Dunk II’ was not functioning, opting to play it later in the set (with the crowd heckling “Whatever happened to Drunk I?”) Vocallist Missy would later explain that incidents like these were known as ‘set goblins’, disrupting the peace of the stage. As a band that gives time to strike up a connection with the audience, chatting to the audience about finding solace in the art you create, the stigma surrounding their name and getting all the men to shout “Pussy” as loudly as possible). The connection that Missy fronts with the crowd is electric- there is something timeless and alluring about her presence that is so confident and welcoming at the same time. Soundtracking it all are gorgeous retro beats that seamlessly flow between tracks. In the soft-to-abrasive transition that takes place during ‘I Got Heaven’, the band becomes confrontational, with a frenzy starting in the middle of the pit. Pushing the limits of hardcore with ‘Of Her’, the show’s emotional direction flips, night and day, to the carefree beginning of the set. ‘Perfect’ and ‘Clams’ follow in the same aggressive suit, and before long, the band would encourage the audience to scream as loudly as possible, before moving into ‘Ok? Ok! Ok? Ok!’ Colins takes the floor to take the lead on Pigs is Pigs, a rambunctious commentary on the state of the police in America, especially towards marginalised communities. Fronting vocals for this song, he puts everything into his anguished screams. Circling back around to the infamous ‘Dunk II’, Missy warns the crowd that they have two songs left and finishes on ‘Emotional High’ and ‘Romantic’. Mannequin Pussy are not a band, but instead a collection of the most pure and complicated emotions, that champion freedom of expression in the most concentrated form possible. On their records, their discography bleeds with care for the music they create, but in a live context, it heals and is hopeful for the future. As a moment in time, their Manchester show is controlled, damaging and incredibly full of love. A joy to watch and the best band we’ve seen this year. Words: Amber Brooks Photos: Marco Cornelli

With seven number one singles in the UK, six top 10 albums and over 10 million records sold worldwide, McFly are a force to be reckoned with. Starting out as a pop/rock band, throughout the years their sound has ventured into pop-punk and rock, positioning themselves as a well-loved band within multiple genres. 2025 sees the now 22-year-old pop-rock band McFly set to headline Download Festival this spring. Here is a countdown of their 10 best songs! 10) Route 55 Like a hot sunny day in the UK, bassist Dougie Poynter’s lead vocals on a McFly track are rare but loved by all. ‘Route 55’ takes us on a journey to the good old days, past memories that linger on in our minds and a call to leave the past in the past. Mirroring classic Bon Jovi, Danny Jones swoops in to deliver a gritty, rocky chorus that transports you to the classic American highway of ‘Route 55’. A somewhat wistful but hopeful tune to kick off the countdown! 9) Star Girl First released in 2006, ‘Star Girl’ takes listeners on a cosmic journey of vibrant guitar jams and trumpet solos. ‘Star Girl’ is out of this world - literally. In 2009 the intergalactic pop track was played to astronauts on the international space station. This was due to a phenomenal social media campaign by McFly fans, informally known as Galaxy Defenders (taken from the penultimate line of the track). Since then, the song has achieved earth shattering success. Debuting at number one on the UK singles chart, reaching platinum status and most notably being played every week for two years as part of Chris Moyles's BBC Radio 1 show. ‘Star Girl’ remains a fan favourite and a quintessential McFly anthem. 8) Touch the Rain Initially intended for their sixth studio album, ‘Touch the Rain’ is one of 13 Lost Songs that the group finally released in 2019. Conceived during a power outage caused by a storm, the lyrics use the elements to strip the song back to create an unadorned, honest masterpiece. The isolated vocals, built up to blend perfectly into a classic McFly guitar solo, and drums that mirror the first rumblings of an imminent storm, gives a country nostalgia meets rural Americana vibe. This doesn't come as much of a surprise, as the record was written in Texas. A lesser-known but still equally nostalgic edition to the band’s impressive catalogue of songs. 7) Party Girl A song that encapsulates a night out on the dancefloor, ‘Party Girl’ was released as the lead single for McFly’s fifth studio album, Above the Noise. With a music video featuring vampires dressed to kill and a 16th century manor house, this Nosferatu meets synth-pop track signalled an end to the punk undertones of their previous material. Featuring definitive McFly guitar riffs and harmonising ‘ooohs’, ‘Party Girl’, sustains itself as a song that belongs just as much in the club as it does on stage. 6) Room On The 3rd Floor Take a peek inside the lives of a touring band. Stuffy hotel rooms, noisy neighbours, nonfunctioning air con and broken beds. This song is all about missing home comforts and the trials and tribulations of living somewhere that is not your own. The challenges that come with living away from home bubbles away in the verses and builds to a crescendo of harmonies by the outro. This slower-paced rhythm moves away from the 60s infused sounds of other tracks on the album like ‘Surfer Babe’ whilst retaining a strong connection to listeners across the generations. 5) Happiness Warm, bright trumpets and lo-fi bass and drums - ‘Happiness’ captures the essence of McFly and marked a new era for the band. This 2020 track exudes positivity, and lit a spark of happiness in the dark isolation that the covid pandemic created. The opening track from their sixth studio album Young Dumb Thrills set the tone for the rest of the album - songs you can’t help but move to. From dancing around the kitchen to conga lines in mosh pits, this uplifting track sits comfortably as a top ten McFly song. 4) Transylvania With organ-infused melodies, ‘Transylvania’ brings a Victorian gothic edge to the band’s otherwise pop collection from their third studio album, Motion In The Ocean. Theatrical in nature, bassist, vocalist and lead songwriter for this track Dougie Poynter explains how the song was formed through an imagined love tale - a stable boy and a princess that fall in love but cannot be together. Tapping into the storybook imagination of the band and their love for 90s group Jellyfish, ‘Transylvania’ creates a space that encourages listeners to feel accepted and free to be who they want to be. The call and response vocals in the chorus mixed with the marching band drum beat amplifies the unusual but beloved narrative the band created. A quirky anomaly in their catalogue of classic hits, this song is its very own musical, all within 4 minutes! 3) Red Teased on the 2012 ‘Keep Calm and Play Louder’ tour, ‘Red’ is another demo that the band decided to officially release as part of The Lost Songs collection. Raw, energetic and lively, ‘Red’ reminds us of McFly’s power to create a rock song with a twist. Filled with edgy electric guitar riffs and blended vocals, ‘Red’ honours blues through its melody and rock through its chorus. Red and white flashing lights with a single hanging grill microphone (which singer Danny Jones throws out to the crowd and catches in one effortless motion) makes ‘Red’ one of McFly’s most energised songs played live. 2) Lies Who knew that an upbeat trumpet melody and guitar riff melody would combine to make such an epic hit? The song in question, ‘Lies’, calls out deceptive behaviour. The bridge pays homage to the band’s second studio album, ‘Wonderland’, with the lyrics “I’m just one drink away/And I'm back in Wonderland like it was yesterday”. Echoing the much darker sides of mental health, and the orchestral finale seen also in ‘She Falls Asleep’, ‘Lies’ carefully balances the feelings of being caught in dishonesty with the frustrations of dealing with it. A certified crowd-pleaser. 1) Five Colours in Her Hair A true McFly classic. Their debut single and first number one. ‘Five Colours in Her Hair’ introduces itself with a bouncy guitar riff and unified "Doo, doo, doo, doo, doo, doo’s!" recognisable in its first few seconds. Rerecorded to feature a heavier pop-punk style, ‘Five Colours in Her Hair’ has evolved with the band, to fit their fun-loving but edgy feel. Inspired by the character Suzanne 'Sooz' Lee from the Noughties TV Show ‘As If’, the song tells the story of a girl with crazy colours in her hair who quickly captures the attention of everyone who crosses her path. Drawing influence from The Beach Boys, and dubbed ‘the new Beatles’ by the press, McFly had a lot to live up to. ‘Five Colours in Her Hair’ is the song that established the young band as a formidable force across many genres and stands firmly at number one on the top ten countdown! Catch McFly at Donington this June for Download Festival Words: Mary Horner

With the release of two new singles, a pair of tours, and of course a new album hidden up the bands' sleeves, Pupil Slicer are about as ready as they'll ever be to renew their quest for total domination. Chatting to the brains behind the brutality, Kate Davies, they revealed a little bit of what's been going on within the world of Pupil Slicer. When it comes to Pupil Slicer, it was nigh impossible not to go all in and ask for every juicy detail on the upcoming, and as-yet-unnamed, third LP. With their ruinous debut Mirrors and the incredible, more melodic follow-up Blossom, the third full-length release from the band is supposedly going to tow the line between the two, whilst bringing in a more polished production that has already been heard on the exquisite new singles 'Heather' and 'Black Scrawl'. Taking the punishing aggression of Mirrors into any album is always an immense positive, but when mixed with the more advanced songwriting and hookiness of Blossom, it's all but a certainty that the Slicer LP3 will be a raging success story. As said by Kate themself, "I've already done the grindy shit... and the melodic stuff... this will be a bit of both but a bit nastier" - now that sounds like one HELL of a listen. Whilst there hasn't been a date provided, we should be eyeing this frankly eyewateringly heavy release for late Summer or early Autumn - get it in the diary. This LP is at a real crossroads in the Pupil Slicer journey. After shedding and then taking on some new band members, the group has had to reset a little before this album could be recorded. Kate's manner was fairly relaxed, as it tends to be, whilst they went into a bit of detail regarding the sonic development to get here, but this feels almost like they've taken for granted just how hard it was to get here. The band have released two full-length albums that don't correlate directly sonically, and are now attempting to stitch the two together with new members. For anyone who has heard the singles, they're a triumph of mathcorey metalcore, with but a hint of grindcore and hardcore. Taking the spectacular vision that Kate has always had as a composer and writer, fleshing it out into an album, and making it sound this good is truly a triumph over a number of serious tribulations, and with any luck, it will push the band that much further into the limelight they so deserve. Of course, to go alongside this, the group are taking a few goes around the country to fine-tune their stage show, the first of which has just blown us by! Setting off last week, Pupil Slicer were joined by Tayne, the industrial noise pop act, on a trio of dates that no doubt caused a flurry of moshing, thrown drinks, and screaming - the numerous videos on various social media accounts all testify to this fact! This brief jaunt was nothing if not a romantic trip around some of the UK's most glamorous destinations, taking the bands to Milton Keynes, Huddersfield and Cardiff on their first of these leg-stretching sessions. Later in the year comes the real goodness, on their late November run with Danish bruisers LLNN, and up-and-coming ragers Worn Out. Even just discussing both tours, Kate is visibly excited at the prospect of both - and said about the November dates that "LP3 will be out before that tour, so you can learn the lyrics". Now, it would not be Slicer interview with Kate without having a chat about Warhammer. For those not in the know, Warhammer is a tabletop war game played with numerous miniature figurines that are each hand-painted by the player, with some pretty deep lore and an incredible variety of ways to engage with it. Having discussed a certain faction of humans, the Blood Angels, in some depth previously, 2025 finds Kate deep into the territory of a new faction of humans - the Emperor's Children. With a bold new colour palette on the faction, a stunning black and pink design, there has rarely been an army so terrifyingly dashing on the field of battle. It was the first question to come to mind, to ask why the choice of such a bold look, but "it looks cool right?" was all the answer we needed. With plenty to come this year, rest assured that Pupil Slicer will be back on the Out Of Rage front page sooner rather than later - an album, two tours, and of course more TTRPG's are all yet to be discussed. With another friendly chat over and done with, the leader of the Slicer faction heads off to their lair to preside over more evil riffs and black/pink figurines, leaving us just waiting on this bold new step in their musical journey. Catch Pupil Slicer on the road in 2025: w/ LLNN 25/11 - Bristol, The Exchange 26/11 - Nottingham, The Bodega 27/11 - Manchester, Rebellion 28/11 - Glasgow, Slay 29/11 - Leeds, Brudenell Social Club 30/11 - London, The Underworld Words: Jake Longhurst Photos: Richard Mukuze Cover Design: Simon Arinze

Calling all fans of independent music - Bearded Theory is back and eager for another round from 21st to 25th May 2025! The eclectic music festival brings together artists from multiple well-loved genres and is focused on showcasing all the independent talent that the music industry has to offer. This year's line-up is brimming with insanely talented artists with the likes of Iggy Pop, Manic Street Preachers and The Sisters of Mercy claiming their space as the main headliners of the five-day event, and with the sunshine that the UK has been blessed with as of late, Catton Park will be beaming with warmth and this years festival is sure go down in the Bearded Theory history books. If you’re scratching your head regarding who to include in your itinerary from this jam-packed line-up, this article will give you an idea of the best of the best that you should be squeezing into your no doubt already busy plans. Arxx Jumping straight into it, the artist snagging the tenth spot on the list is Arxx, a Brighton-born power-pop duo who leapt into the music industry back in 2019 with their debut EP ‘Wrong Girl, Honey’ including five perfectly crafted tracks and fans fell for them and their fun-loving and rebellious energy instantly. If you’re an advocate for supporting the smaller bands at a festival, Arxx is a definite must to give your all to at Bearded Theory 2025! Nova Twins You’re going to need to preserve your energy for this next duo because they will have you jumping so high that you become airborne, the next artist is the eclectic rock geniuses who have somehow managed to seamlessly blend punk and grime, Nova twins. Screaming their way onto the scene back in 2016, they’ve been serving genre-blending and high energy tracks for the last nine years, and they have zero plans of stopping anytime soon. The Sisters of Mercy This next band first made it big in the UK’s underground music scene back in the 1980’s and have since been touring the big gun venues and festivals with an energy and stage presence that only they can achieve. The Sisters of Mercy are a rock band originating from Leeds who are popular amongst gothic culture due to their grizzly vocals and darkwave essence and, even though they haven't released a studio album in a solid thirty-three years, their music is still a staple in post-punk playlists everywhere. Billy Nomates Billy Nomates is a fun and fierce alternative/indie musician originating from the south coast of England, and is well deserving of the seventh spot of the list with her brand new album ‘Metalhorse’ dropping on 16th May 2025, a mere five days before the festival. Her music beautifully blends a mix of punk, 80’s pop and synth to create a unique sound that you can dance the entire set away to, and is a must-see for a good boogie at Bearded Theory 2025! Terrorvision After their initial disband in 2001, the West-Yorkshire born indie-rock band Terrorvision have been back on the music scene and releasing banger after banger, and with their latest album ‘We Are Not Robots’ dropping late last year, they have an entire arsenal of fresh and fun tracks to show off so make sure to include them in your extensive list for Bearded Theory 2025! Alt Blk Era Get ready to unleash your inner ‘nightmare upstairs neighbour’ with the Nottingham-born genre-blurring sister duo Alt Blk Era. With influences from all over the shop including alt-rock, DnB, pop and electronic music, their music caters for a majority of tastes out there and they are ready to own the stage with their stunning vocals and high-energy performances. Iggy Pop If you don't know this artist, one can only assume that you’ve been living under a rock for the past forty years (or you weren’t born, but still not a valid excuse) because well-deserving of the fourth spot in this extensive line up is Iggy Pop. As a man of many talents including working as a musician, singer, songwriter, record producer and an actor, he is more than well-equipped to bring out your feral ‘wild child’ and get the audience going feral with his free-spirited and nostalgic tracks. Millie Manders and the Shutup We’ve made it to the top three artists that are a must-see for Bearded Theory 2025, and deservedly snagging the third spot is Norwich-born punk band Millie Manders and the Shutup, who enjoy poking fun at societal norms with their high-energy tracks and will definitely bring out your inner rage with their phenomenal riffs and of course, in-your-face vocals from Millie Manders herself. Ezra Furman The penultimate spot is very deservedly given to one of our favourite alternative/indie musicians from all the way across the pond, Ezra Furman. Breaking boundaries with their emotionally honest and creative lyrics and using their music to celebrate their queerness, she is a performer who is unapologetically themselves on as well as off of the stage. Their music may also be recognised from an extremely popular little TV show by the name of Sex Education, as she wrote and recorded the entire soundtrack for all four seasons of the hit Netflix series. Manic Street Preachers Swooping in and grabbing the top spot with both hands is Welsh-born alternative rock band Manic Street Preachers. Formed in 1986 in Blackwood, Caerphilly, their music has evolved over their time and takes on more genres than you could count on both hands, including glam rock, punk rock, punk metal and many, many more. With their energised, soul-searching lyrics and extremely addictive melodies, you can count on them to raise the energy and keep the party alive at Bearded Theory 2025! There you have it, ten must-see artists to add to your itinerary for Bearded Theory Festival 2025. With such a broad array of genres present, the line-up is bound to appease every music taste and get you partying the five nights away! Words: Billie Wheeler Cove Photo: Simon Arinze

Oporto was put through its paces on the Leeds leg of Hyphen’s 2025 tour with Native James and Eva Kiss on Tuesday. The energy was high and vibes immaculate in what became an intimate community between fans and artist over the three hours spent in the wood panelled rectangle hiding around the corner from Leeds corn exchange. When doors opened at 7:30 the energy was chilled out, with our headliner for the evening lulling in the back of the room selling t-shirts and conversing with those that turned out early, while the last of pints and final cigarettes were enjoyed in the sun on the last warm night of the heatwave. The crowd trickled into the mostly sold room as 7:45 approached and local opener Eva Kiss set up to begin. Kiss was a siren in more ways than one: dusty blonde with a pinstripe shirt/waistcoat/bloomer skirt set complimenting silky smooth vocals made for closed eyes and becoming swept up in her thoughtful grunge soundscape. Despite being a member down and some wiring issues making the sound glitch out their set was as seamless as it was heartwarming: from the track dedicated to Kiss’ beaming girlfriend in the crowd and the loving gay uncle energy emanating from the band, or her catching and thanking two at the front for remarking that a song from the next project in the works slapped, the happiness to be there matched with the quality of their 20 minute set eased Oporto into an evening of stellar rock. Even when sorting the technical issues the calming energy of Eva Kiss had filled the room, with the time spent ironing out these problems used to play lift-music inspired melodies and a perfect opportunity to plug a gig for the quartet in Fenton, Leeds on May 21st; definitely worth going if grunge is your jam and your in the area, with the promise that this set will be 100% of Eva Kiss and dialled up on the energy.When the set closed with drummer Seb hand drumming before the big final breakdown, some of Oporto will absolutely see them there. Where Eva Kiss had lulled the crowd into the evening, Native James ignited the energy. First arriving on stage in a fetching jumper quickly discarded as the broken Gregorian chant morphed into the beginning of Mungen Train as the reserved personality that had been wandering around Oporto transformed into the high energy punk powerhouse that is Native James’ stage presence. His crowd work was great from the beginning and only got better, with the promise that the crowd would be moshing feeling like a hard sell to an otherwise chilled out room of older gen Zs and younger millennials but would come to fruition by the end. As Hammer turned into Power James’ band started to get into it, with his bass player in particular serving facials as he kneeled and moshed with the frontman when the set was hitting its stride; the only wrinkles were the first attempt to open the pit during hammer resulted in the crowd parting for no one to partake, though this was fixed quickly during field, and an attempt to introduce the band fettered by the forgetting of his new drummer’s name having only rehearsed with him that day - the fact that a standout set like this had only came together that morning only made it better. The main sell for Native James was the infectious energy: climbing onto the amps and headbanging with the crowd while he spat transferring into a room that gradually woke up and got down with him by penultimate track Block - recorded with Professor Green but bodied still by James on his own, then by the closing number he had convinced the crowd to all get down for a final jump and mosh where the pit got started all on its own. Native James was the personal highlight of the evening - from his intoxicating stage presence, the quality of the live mixes and his genuine kind man energy we cannot wait to see him start headlining tours of his own and hope we’ll be there when it happens. After a well deserved half hour to cool off, Hyphen’s drummer started to drum up the energy by asking everyone who they were here to see, parting the crowd once more as the guitarist and himself played a punked up version of Backstreet’s back for Hyphen to run through the crowd before starting the show with almost-latest single This Might Be It, then keeping the energy through actual-latest single The Bear. The attempt to deliver his mission statement after this seemed to have exposed a growing pain for an artist who has come into his own over the last year; the first time losing his voice in the middle of a headline tour. After a few big swigs of water and failed attempts he handed the mission statement over to his guitarist, introducing himself as “the other brown guy” to thunderous applause before explaining how his frontman’s surgeon/teacher parents have shouldered a mountain of racist rhetoric - a knife turned by their natural kindness as individuals. After a boo once he asked about how the crowd felt about Great Britain, Hyphen would once again take the mic for Dystopian Peter Crouch. Describe Hypen’s presence in four words? Allergic to the stage. From go and throughout he was running through the middle of the crowd, jumping on the amps to get his crowd to shout back at him, or grabbing fans and embracing them while getting them to finish the lines to the songs with him it was as clear as it was refreshing at Hyphen is doing this to fill a room with energy and community. On the latter point he shouted out the pair he was hugging specifically for knowing every word to all of the policial songs - right at the front with bent knees and screaming from the chest for most of the set, feeding his energy as they jumped around together throughout the set. On the former, one of the best examples was once Hate Yachts not Dinghies came up on the setlist; one of the best of the night with the frontman squatting on the right side amp, trading the title phrase with the screaming crowd while the whole room jumped along and grinned. It was after this that Hyphen stripped back his set a little to talk about the mental health perspective of his musical mission statement, telling Oporto about the dark place he was in at 23 and that he couldn’t have imagined his 31 year old self prepping to get married and able to tour as a punk artist, blending this into brown-positivity anthem cocoa butter to mark the chilled out portion of the set. This area marked the only hiccup of the Hyphen set, being that because of his voice he’s had to re-arrange the setlist to fit with when he’s able to scream; not to worry, this had zero impact on how good the final product was. After Cocoa Butter came Confidence, another track where he embraced groups within the crowd and jumped along with them in a move that felt like a core memory. For the last portion of the evening there was cheeky anti-work culture anthem Deskjob, another call to action for protesting and a final lull as he went back to the dark place he was in at 23 in the form of Futuristic; a manifesto of hurt backed only by the electronic track as a silent crowd and darkened room watch him fold into the microphone. Before beginning he asked the crowd to contrast this performance with his closers - 3 Pints and breakout single Marching Powder - the contrast was wonderful to see, we’ll get there in a moment. For these last two tracks the standout moments were the guy standing next to him when on the amp timing his repeating of “get back to where you came from” when the lyric came up in 3 pound pints, and then in closer Marching Powder where Hyphen first thanked the crowd for coming during the weeks, feeling their pain as they all had day jobs - free his guitarist from the Taylor Swift cover band - then embodied the theme of the song by leaping from the amps over the chairs and onto the bar for the first verse, getting the crowd to scream the hook as he lost himself in said crowd for the remainder of the song. The word to use for the Leeds leg of Hyphen’s tour would be immaculate. Each artist was both phenomenal and grounded, giving the satisfying feeling of being able to support artists who are kind among a crowd of lovely punks. Hyphen’s messages of pro immigration rights, pro trans rights and pro palestinian rights alongside his mental health advocacy were as relevant as they were moving; his calls for community felt heard in a room filled with laughter to make one of the best live shows we’ve had the joy of covering in a while. Listening to Hypen’s discussions of where he was ten years ago to now were motivating and resonant - it is never too late to jump head first into doing what you love, so to Hyphen enjoy every second of your come up, it is well deserved. Words: Julia Brunton