“This is the one. The big one,” proclaims Henry Cox, vocalist for Boston Manor. Tonight marks the band’s biggest headline show to date, as they play London’s 2000-capacity O2 Forum Kentish Town. Since their debut EP back in 2014, the Blackpool-born-and-bred band has steadily risen to success. Still, they had always remained in the semi-obscurity, playing venues’ second rooms and sitting comfortably a few rows down on festival lineups. But tonight’s show proves that not only are Boston Manor destined for greatness, but that they are already well on their way there.
Within the first thirty seconds of the show, it’s obvious that playing in bigger venues suits them. The stage swims in thick fog, drenched in blinding hues of green, blue, red, and white. Almost cinematically, the band stride on stage and break into ‘Datura (Dawn)’, the atmospheric, dream-like opener to their latest album, Sundiver. It’s certainly a grand entrance. The theatricality works wonderfully, and from the first moments, the audience is rapt.
They may have only released their debut album in 2016, but their command of the stage and audience demonstrate the band have experience beyond their years.
The following two songs, ‘Container’ and ‘Floodlights on the Square’, are a thrilling barrage of noise. Thunderous guitars, brutal drums, and rumbling basslines pair beautifully with Cox’s driven cries. When played live, these tracks also have a newfound grit and sense of urgency. Boston Manor’s entrance may have leant towards the theatrical, but they haven’t lost the raw edge and DIY amongst blinding lights and higher budgets.
Their performance is so tight, in fact, that it comes as a bit of a shock when Cox introduces ‘England’s Dreaming’, a track from their 2018 record, Welcome to the Neighbourhood as “one for the oldies”. Their stage presence is that of a band with many more years of experience, so this comment highlights just how relatively new Boston Manor still is. They may have only released their debut album in 2016, but their command of the stage and audience demonstrate the band have experience beyond their years.
‘Sliding Doors’ and ‘Horses in a Dream’ allow Boston Manor to further showcase their talents. With staunch conviction, Cox strides the length of the stage and gestures in time to the music, often acting out lyrics. To either side of him, guitarists Ash Wilson and Mike Cunniff and bassist Dan Cunniff move with equal purpose, all while drummer Jordan Pugh rules the back of the stage with feverish power. Their energy is contagious. It feels like they’re trying to conquer the stage and make it their own, all while leaving no shadow of a doubt that they have earned their rightful place on it.
When the band are performing, their sheer authority over the stage demands the audience’s attention. However, in the moments when Cox is interacting with the crowd, he comes across as charmingly bashful. Perhaps it’s the nerves or perhaps it’s awe at the sheer scale of the show, but either way, the result is endearing. It elicits effusive cheers from the crowd in solidarity.
It might be the end of the show, but it also decidedly feels like the warmup for a new era for Boston Manor.
‘Liquid’ is a notable highlight, as Trophy Eyes’ John Floreani comes on and performs alongside Boston Manor. Floriani and Cox bounce off each other, resulting in a moment of sheer thrill and excitement from the pair. With Floreani featuring on the studio recording, seeing them perform ‘Liquid’ together feels like a full-circle moment.
In contrast to ‘Liquid’s unbridled energy, ‘Inertia’ and ‘Bad Machine’, two of the band’s relatively slower songs, demonstrate that they can do reflective ballads just as well as their usual full-pelt post-hardcore.
Finally, ‘Dissolve’, ‘Halo’, and ‘Crocus’ bring the show to a breathless, dizzying climax just before Cox effusively declares his dislike for encores. Wasting no time, they launch into the final two songs, ‘Passenger’ and ‘Foxglove’. The last twenty minutes of the concert are pure euphoria. The audience is completely and utterly engrossed in the performance, and the band feed off this energy, with each cheer and singalong propelling them to new heights. Perhaps without realising it, Boston Manor have just given a masterclass in how to put on a rock show.
Leaving the venue, there’s a sense of accomplishment in the air, as the audience – and perhaps the band, too – begin to realise the magnitude of what they have just witnessed. It might be the end of the show, but it also decidedly feels like the warmup for a new era for Boston Manor. With grit and grime, killer melodies, and softer moments to balance it all out, there is plenty of appeal in their material. And for naysayers who claim guitar music died in the 90s? It only takes going to one Boston Manor show to prove that rock and roll is not just alive but thriving – and Boston Manor is leading the charge.
Image and words: Sophie Flint Vázquez, no use without permission
If Pale Waves’ last album Unwanted (2022) was a collection of dark, vindictive pop-punk bangers, 2024’s Smitten sees the band completely flip the script in favour of a collection of twelve sparkly, glittery tracks that lean closer to The Cranberries than The Cure.
The comparison between Pale Waves and The Cranberries goes beyond the bands’ sounds. For example, on the lead single ‘Perfume’, Pale Waves vocalist Heather Baron-Gracie takes cues from the late Cranberries singer Dolores O’Riordan in her swooping, lilting vocal delivery. “My mother says when I love something, I never let it go”. Cranberries comparisons aside, ‘Perfume’ is an excellent track and a shining showcase of the band’s growth. Its lyrics are deliciously dark and dripping with obsession and desire, and they contrast beautifully with Pale Waves’ new lush pop sound – not to mention ‘Perfume’ is an undeniable earworm.
Smitten feels inspired by Pale Waves
Another standout track is ‘Seeing Stars’, one of the heavier tracks on the album. Its big, anthemic choruses and twinkly touches are a surefire sign the band is aiming for arena-sized greatness. Beyond these tracks (and a handful of others, including the deceptively cheerful ‘Glasgow’ and lovesick ‘Gravity’), however, the rest of the album falls short of the same spark.
Similarly, while the band dips their toe into this new sound, they fail to commit fully. With more experimentation and risk-taking, Smitten could have signified an exciting new chapter for the band. Instead, it sometimes feels too similar to what has come before. In fact, if Pale Waves’ earlier material is inspired by The Cure and The Cranberries, Smitten feels inspired by Pale Waves. For example, ‘Miss America’ and ‘Hate To Hurt You’ are cookie-cutter Pale Waves songs without the strong melodies of tracks from, say, 2018’s My Mind Makes Noises or the punchiness of Who Am I? (2021).
Smitten has a lot going for it – its production is stellar, Baron Gracie’s vocals are at their best, and their new, polished sound fits them like a glove.
This aside, the years of experience the band now have do not go unnoticed – Baron Gracie’s vocals are stronger than ever, with her soaring voice in the chorus to ‘Last Train Home’ making for one of the strongest moments in Pale Waves’ repertoire. On the same note, her matured vocals add new weight to their lyrics, even though they can still verge on overly sentimental on occasion: “She’s pulling me in, like gravity, everywhere she goes” (‘Gravity’) and “Just come on and kiss me, again” (‘Kiss Me Again’). But if you let yourself get swept up in the syrupy goodness, you’ll realise that Pale Waves are actually quite fun.
However, where Smitten truly shines is in its production. With jangly pop hooks, twinkling synths, and dashes of string arrangements, the album is meticulously crafted, and the layering of instruments is unequivocally brilliant. ‘Seeing Stars’ is one example: the guitar solo is rich and the string arrangement that weaves in and out of the main composition makes you wonder why Pale Waves hasn’t experimented more with different sounds and instruments before. Unfortunately, the album’s production isn’t quite enough to bolster the occasionally lacklustre melodies.
Smitten has a lot going for it – its production is stellar, Baron Gracie’s vocals are at their best, and their new, polished sound fits them like a glove. But if Pale Waves want to achieve the high expectations they are setting for themselves, they’ll need to continue pushing themselves and explore new directions, whatever these may be.
It was the first true moody, angsty, cold day of the year, setting the scene perfectly for a good, nostalgic Midwest emo show. I was shivering in my band hoodie and beanie on my way to SWX to see the legendary friends from Illinois who released a genre-defining debut LP in 1999. While American Football (LP1) was created as a casual, half-assed’ side project’, it would soon receive cult classic status and be considered one of the most important albums of its time and one that was highly prominent in the development of Midwest emo as a sub-genre.
Twenty-five years later – just one night before the official anniversary of its release – the reformed band performed the self-titled debut LP in full. Upon entering SWX, the sold-out room was packed from the barrier to the door. By the time I managed to get to the front, I could sense the excitement for what we were all about to experience in the air. The lights went dark, the first sounds of ‘Five Silent Miles’ hit the speakers and the iconic American Football house in Urbana, Illinois, was projected onto the wall behind the stage. ‘The Summer Ends’ marks the start of the journey through LP1 played in its entirety. Having attended dozens of album anniversary shows in my lifetime, this one felt different to all the others.
It was not just a celebration of the record but a celebration of an entire genre, movement, and sub-culture. The celebration of growing up in a changing world that you don’t always understand and that doesn’t always understand you. The celebration and soundtrack of moving through the years, the experiences and the emotions like any emo teen. The celebration for feeling the feelings even when you can’t find the words to express them. The cold winter nights, sparkling summers, and every good and bad day. The instrumental twinkly guitars and soft trumpets form the perfect soundtrack to see memories of a lifetime of emotions and experiences flashing in your mind, like telling stories around the campfire with a cup of tea and a warm hug. And that hug is oh so welcome on this true autumnal Friday night.
For an album that is still so highly acclaimed and culturally relevant a quarter century later, the atmosphere in the room was a flavour of its own and one that I haven’t often tasted myself. The swirl of melancholy, nostalgia and peace meant you could hear a pin drop in the room. But don’t be fooled; this silence is not a sign of disinterest or a bored audience, but rather the hypnotising craft of the performance witnessed. Everyone in attendance was so in awe that the sound of the shutter of my camera snapped me back into the present.
At times, standing in the audience flooded me with the nostalgia and peace I felt listening to these songs in a friend’s shed as a teen secretly smoking and drinking in silence, the aesthetics of exploring, the moodiness of the changing seasons, the hotboxing of cars and driving around for the late night adventures that felt so deeply defining for many emo teens. For a moment, I completely forgot that the band was right there on the stage and that all these people were in the room enjoying the same emotions of nostalgia towards their teenage years and the sounds coming from the stage.
On occasion, a member in the audience would speak up during an especially quiet moment for the whole room to hear, interacting with the band, adding to one of the most intimate atmospheres I have ever seen at a show, where regardless if you were at the barricade or all the way in the back, it represented the true DIY emo basement gigs with a dozen people there – a feeling that is so rare to experience at a show with a few thousand folks in the audience.
Frontman Mike Kinsella admits to the audience that he does not often speak to large crowds, and his life usually consists of daily life errands, kids, groceries, housework, and even funerals of grandparents just like the rest of us – and apologised to the band for repeatedly bringing up his grandpa’s funeral. Is it really a Midwest emo show without some unprocessed emotions about loss, though?
The band jokingly states they will be playing ‘Wonderwall’ next as I am on my way down the stairs from the balcony, and I realise I hear the first riff of ‘Never Meant’ echo through the building and pick up my pace to make my way back to the pit to be fully immersed in the live experience of one of the best album opening tracks of all time. For the first time, the audience is not totally quiet, and the soft, respectful sound of excitement rises in the crowd as people start singing and humming along. The audience naturally splits into singing the instrumental riff of the final verse whilst the other half screams the lyrics, overlapping and intertwining each other like a perfectly rehearsed harmony, and I start to feel chills all over my body.
This album attained cult status for a reason, but this performance showed me that it created a community of people from all backgrounds who feel similar things and who are just looking for a deeper connection than we usually find in this world. And this show did exactly that; it made me feel more spiritually connected to a thousand strangers than I did most of my childhood in a world where I felt like I was the stranger. This sold-out show proves that maybe we aren’t so strange at all.
With four top 5 UK albums and countless sold-out headline shows under their belts, Stockport-born Blossoms are no strangers to the indie-rock scene. Whilst every Blossoms album has a distinctive sound, they have perhaps previously played it safe with fairly conventional, primarily guitar-based melodies; what is striking about Gary is Blossoms’ new, funky, synth-driven style.
The three singles, ‘What Can I Say After I’m Sorry’, ‘Gary’, and ‘Perfect Me,’ were the first hints that Blossoms would take on a more groovy approach in Gary. ‘What Can I Say After I’m Sorry’ is an upbeat number featuring a spritely synth beat. Its funky, 80s vibe is effortlessly cool, and the track closes with some stellar guitar playing from guitarist Josh Dewhurst. Despite its youthful feel, it is clear that Blossoms feel self-assured and confident in their abilities to release this admittedly genre-bending track as the album’s first single. ‘
‘Perfect Me’ is an energetic earworm and pairs a radiant synthesiser with a head-bopping melody, whilst the titular single ‘Gary’ features a joyous, infuriatingly catchy riff and chirpy vocals. Singer Tom Ogden recounts the story of an 8-foot tall fibreglass gorilla called Gary, which was stolen from a garden centre in Lanarkshire, Scotland, last year, breathing life into this largely unknown tale. ‘Gary’ is a song that doesn’t take itself too seriously, and it’s refreshing to feel that Blossoms are having fun creating these tunes.
While the 80s influence on Blossoms’ music has always been notable, these tracks take it to the next level
‘I Like Your Look’ is the most unusual track on Gary. It begins with a catchy drumbeat and laser-like synthesiser effects, and Ogden speaks rather than sings in the verses. This anthemic quality gives it an edge, and it’s not difficult to imagine ‘I Like Your Look’ being played at an old-school disco or club night. A persistent synthesiser, a groovy guitar solo, and the disco nod in the lyrics’ I think your flares are so cute, I like your look’ reinforce this disco vibe.
‘Nightclub’, ‘Mothers’, and ‘Slow Down’ play further into this retro, synth-fuelled fantasy. ‘Nightclub’ is a breezy, playful number with punchy keys, while ‘Slow Down’ is a smooth, chilled-out track permeated by a deep, twangy guitar riff. ‘Mothers’ takes on a softer tone, with Ogden’s silken voice again accompanied by a vibrant synthesiser.
The opening track, ‘Big Star,’ is notably heavier, building from a catchy, rocky guitar riff into a haunting, 80s-style psychedelic guitar solo, but it still retains Gary’s signature vintage feel. While the 80s influence on Blossoms’ music has always been notable, these tracks take it to the next level, embracing 80s synth-pop in all its glory.
Contrastingly, ‘Cinnamon’ is a stripped-back, sickly sweet burst of energy. Accompanied by an upbeat acoustic guitar, Ogden describes the euphoria of a new relationship: “You’ve had my mind running wild / every day for a while”. Cinnamon is a love song in its purest form, and its simplicity offers a refreshing contrast to the heavily layered, synth-driven songs of the rest of the album. Its euphoric, joyful acoustic guitar is reminiscent of ‘Ode to NYC’ from Ribbon Around The Bomb, but with the confident air of a band who, despite having mastered their sound, aren’t afraid to go back to basics.
It showcases Blossoms at their most authentic and creative
My only grievance with Gary is that it’s over too quickly. In typical Blossoms style, each track is relatively short and punchy, ensuring that no song drags out unnecessarily. But with only ten tracks, Gary almost finishes too soon. This is emphasised by the abrupt end of the closing track ‘Why Do I Give You The Worst Of Me’, an intense, frantic song complete with pulsing violins. Desperation claws through Ogden’s voice as he builds to the chorus, promising the potential of a cathartic, intense climax to finish the album. Despite this dramatic build-up, the song has a rather abrupt ending. I just wish there was more to listen to.
Beyond this, Gary is a triumph. It showcases Blossoms at their most authentic and creative, and the excitement with which they approached this album is palpable in every song. Most notable throughout the album is the bright, upbeat synthesiser, played by Myles Kellock, which features in pretty much every track. It gives a cohesive, vintage feel to the whole album, and it is apparent that each song was written purposely with this distinctive style in mind.
Plastered across Blossoms’ social media platforms is the message “Who would call their album Gary?” which feels apt considering the unusualness of this album compared to the guitar-heavy styles of other current indie bands. Having left Virgin EMI last year to set up its own record label, Blossoms are not afraid to break away from the conventional mould, and it really works.
Gary is a standout album. While hints of the classic Blossoms sound remain, this new, quirky direction showcases Blossoms at their best.
Oxen symbolise power, strength, and boldness, which are also qualities that define Hello Mary’s second album, Emita Ox. After the alt-rock trio’s self-titled debut was released to critical acclaim, they wasted no time and turned things up a notch. The result? An experimental, daring album and a strident step forward for the band.
There are some true moments of brilliance on Emita Ox. The three-track run consisting of ‘Three’, ‘Down My Life’, and ‘Knowing You’ encapsulates everything that makes Hello Mary shine. ‘Three’ kicks off as a fuzzy shoegaze number which combines Midwestern-emo guitars with an increasingly chaotic blend of thrashy guitars and crazed piano. The transition into ‘Down My Life’ sees the band switch in a completely different direction, with choir-like vocals and scuzzy guitars making for a track that is as ominous as it is intriguing. This shift is executed seamlessly. The final flourish in this brilliant three-song run is ‘Knowing You’, a track that beautifully blends grungey electric guitars with acoustic guitars to create an Americana-themed track that, in theory, should feel completely out of place. However, lead vocalist Helena Straight’s siren-like cries and distorted guitar tie everything together and justify the song’s spot on the album.
The album’s instrumentals are consistently strong. The quickening guitar that opens ‘Float’ makes for an alluring start to the record, while the plucky, Elliott Smith-esque guitars on ‘Everything We Do’ end the album on a glistening high note. Similarly, although a tad incongruent in its transition between the roaring intro and shimmering verses, ‘0%’ boasts impressively tight instrumental arrangements. The gritty guitars echo 90s grunge and Nirvana and give the album a sense of cohesion despite its many shifts.
However, the band occasionally lose themselves in this experimentation. The interludes ‘Heavy Sleeper’ and ‘Hiyeahi’ add little and slow down the pacing. The songs that follow – ‘Footstep Misstep’ and ‘Bubble’, respectively – lack the weight to bring the album back to its earlier momentum. While the album’s latter half doesn’t quite reach the highs of the first half, ‘Everything We Do’ concludes the album on a definite high note, and the folky, jangly riffs on the track once again prove the band’s commendable versatility.
While not a perfect album, Emita Ox is an impressive step forward for Hello Mary. With the oxen-like boldness and strength the band demonstrate with their experimentation, a genuinely groundbreaking album feels within reach.
For some, Wunderhorse is a household name. For others, the response will be, “Who?”. As of right now, bubbling just beneath the surface of the mainstream contemporary rock scene, a band called Wunderhorse has been slowly rising, waiting for the moment to break through into their well-deserved mainstream fame. And after the release of their second record, Midas, this universal recognition may not be too far away.
Born after the explosive, flash-in-the-pan punk band Dead Pretties decided to call it a day back in 2017, lead singer and guitarist Jacob Slater took some time off before eventually re-emerging under the name Wunderhorse in 2021 and releasing his debut album, Cub, in 2022, which was received with critical acclaim. Combining infectious melodies, groovy hooks, and a dash of leftover grit from his time with Dead Pretties, Cub was an exciting – if a tad overly safe – new beginning for Slater, putting his reckless punk days to rest in favour of making radio-friendly rock for the masses. Slater was then joined by guitarist Harry Fowler, bassist Peter Woodin, and drummer Jamie Staples, who began as touring musicians for Slater but eventually became part of the band.
“We spent a lot of time together, and I think it just naturally started,” Jamie Staples says, reflecting on his time touring with Wunderhorse before their current formation. “As soon as [Cub] came out, we were able to start touring it. We kind of reimagined a lot of those songs for a live setting.” Even the band’s glossier songs, such as ‘Leader of the Pack’ and ‘Purple’, suddenly had a newfound edge.
“I mean, as of now, we’re able to keep up that energy. I don’t think any of us think about, you know, what moves we’re going to pull on stage or any of that business”
Jamie Staples, Wunderhorse
This heavier sound didn’t fully take flight until album two, though. Moving away from the standard pattern of a band’s second album being poppier than the first, Midas marked a new beginning as they traded slick riffs and polished vocals for full-on, grungy rawness and distortion.
As the band shifted their sound towards this rawer sound, they also began building a reputation for themselves through their riotous live shows, earning themselves coveted support slots for the likes of Pixies, Declan McKenna, and current band-of-the-hour Fontaines D.C. Whether it was Slater grabbing his throat during performances of ‘July’, wrapping the microphone wire around his throat, or his rasping growls in between verses, there was a growing sense that Wunderhorse were not only capable of writing a first-rate tune but were also capable of putting on an exemplary show while also remaining authentic to who they were as musicians.
Image: Polocho 2024
“Honestly, I would say all of this is real. And you may catch us on a day when it’s not as visceral,” Staples says, reflecting on Wunderhorse’s run of shows opening for Declan McKenna. “I mean, as of now, we’re able to keep up that energy. I don’t think any of us think about, you know, what moves we’re going to pull on stage or any of that business,” Staples tells me with a chuckle. “I think that’s the opposite of what we’re trying to do.”
“We try and get ourselves in a headspace to be able to do that before a show, yeah, in order to go out and do something real. And maybe in that sense, you could say it’s contrived because we have to get into a bit of a zone for it,” he explains. “We just try our best to keep the energy up in our shows; it’s what we like doing.”
“One of the overarching themes of the album would be the human intervention of something quite natural and the destruction of it”
This sense of wanting to do something ‘real’ doesn’t just influence their live shows but also permeates their music. When making Midas, the band aimed to make an album that sounded “imperfect, very live, very raw; no frills… like your face is pressed up against the amplifiers, like you’ve been locked inside the bass drum.” Paired with lyrics describing an array of unsatisfying lives (‘Midas’, ‘Emily’, ‘Rain’, etc.), Midas paints the picture of people suffering from the effects of late-stage capitalism and the loss of the natural world.
“It’s hard to say this in a way that doesn’t sound too ‘art school’ or whatever, but one of the overarching themes of the album would be the human intervention of something quite natural and the destruction of it,” Staples ponders, choosing his words carefully. “I think people in their own worlds find any way they can to find stuff that is real and right,” he goes on to add: “Technologies are, like, this big factory sucking you out of the real world.”
This idea inspired the themes in Midas and shaped the album’s creation. The band headed to Minnesota to record in Pachyderm Studios, the same studio where Nirvana recorded In Utero in 1993.
Image: Polocho 2024
“The way we approached this album was to more or less put our phones away for a month and to make this record fully absorbed in something. And I can definitely say, retrospectively, there was a lot to that because at any given moment, any given day, you might be creating something, or whatever you’re doing, and your phone is going to ping and take you right out of that. And you never know what you might have been onto if you’d just allowed yourself to, well, get bored almost and allow your imagination to do its thing.”
“With what we were doing, it wasn’t too difficult for us. None of us are particularly that wedded to our phones. I think we were very focussed on what we were doing. We were very appreciative of the time we’d been allotted in that great studio, so we just wanted to make the most of it.”
“I think it’s a song about someone that could have been… but just didn’t have whatever it was inside themselves to make it happen”
Jamie Staples
In a sense, the dispairing pictures Midas paints also beg the follow-up question: Is there an antidote to this reliance on technology, dissatisfaction with modern life, and feeling of disillusion that the band points out? “I don’t know if I’m qualified to answer this,” Staples chuckles. “I would hope so!”
But perhaps the first step to ‘solving’ this dissatisfaction is acknowledging it. On ‘Superman,’ the sixth song on Midas, the band tells the devastating tale of someone putting their passions aside in favour of a cushy office job but being unable to shake the feeling they have picked the wrong path.
“We’re going to do everything we can to push this record”
jamie staples
“It’s supposed to be a song everyone relates to,” Staples explains, a forlorn twinge in his voice. “I think it’s a song about someone that could have been… but just didn’t have whatever it was inside themselves to make it happen. Their dreams kind of fell by the wayside, but they still feel like they’ve got this superhero inside of them that no one is ever going to be able to see.”
Unfortunately, not everyone is lucky enough to make a living off of their passion. In fact, despite their laurels and rising star status, Wunderhorse still has to rely on part-time jobs to make ends meet. So perhaps the temporary solution to this is to have some sort of outlet to let that pent-up disappointment go, whether writing songs about it, going to a gig for collective catharsis, or something else entirely.
“The only thing I can tell you with any assurance is our tour in October, and we’re going to support Fontaines [D.C.] in Europe in November, and we know for sure we’re getting put to work next year in quite a big way. We’re going to do everything we can to push this record,” Staples says. “Alongside that, we’re starting to write the next thing,” ending the interview on a cryptic note and with a smile.
As they gear up for a packed touring schedule, Wunderhorse’s moment in the spotlight is finally within reach. With their growing reputation, commanding live performances, and outstanding second album, they’ve proven they’re more than ready for the success that awaits.
In 2022, Wunderhorse, then the solo project for frontman Jacob Slater, released their debut album, Cub. Filled to the brim with catchy, energetic rock, Cub put Slater into a very comfortable spot in the current rock landscape, earning him support slots for the likes of Fontaines DC and Declan McKenna. Paired with a burgeoning fanbase, all eyes were now on Slater—now joined by a full band—for album two, wondering if this was the project that would propel them into the mainstream or keep them in the semi-underground. Not only does Midas meet any expectations Cub sets, but it surpasses them completely.
Departing from Cub’s polished slickness, Wunderhorse breaks the mould of a band’s second album being poppier than their debut, instead swinging in the opposite direction. The result is an album that feels raw, unrefined, and more like a true debut than Cub. While the indie-rock riffs of ‘Arizona’ would not feel out of place on Cub, the industrial grind of guitars on ‘July’ or the full pelt chorus of ‘Rain’ prove the band have their sights set in the opposite direction of the sound that put them on the map.
The subdued ‘Arizona’ provides a tentative moment of rest
Wunderhorse’s newfound grittier sound also brings to light Slater’s bleak lyricism, fuelling the sense of impending doom that penetrates the record. The album presents a range of grim scenarios, from the callous businessman that puts profits above human lives in ‘Midas’ to the dreary dead-end job in ‘Emily’ (“deadlines, no sleep, this job is killing me slowly”) to the regretful reflections in ‘Superman’, which portrays a regretful picture of a wasted life. Midas is a patchwork of images of a society hurtling towards dystopia. Scuzzy guitars and Slater’s raspy vocals also give the album a mechanical feel, dragging the listener straight into the heart of the industrial machines and capitalist societies to blame for this hellscape.
‘Aeroplane’ is a hopeful sign of what will come from Wunderhorse in the future
Despite this, there are still moments of respite throughout the record. The subdued ‘Arizona’ provides a tentative moment of rest, with hazy guitars washing the track with bittersweet nostalgia for a bygone time and place. Similarly, the indie-rock-tinted ‘Girl’ beckons singalongs in its verses and choruses. And while ‘Superman’ is a grievous tale of the consequences of not following your passions, a more hopeful eye could interpret it as a cautionary tale, with its soaring guitar-led outro and grandiose cries of “Superman” scattered throughout the song serving as a call-to-arms to all the forgotten dreamers and artists of the world.
The album closes with ‘Aeroplane’, an epic near-nine-minute track blending echoes of country with Radiohead-esque production. Its cinematic, soaring choruses, stunning dream-like riffs and grandiose belts allow some of the pressure built during the rest of Midas to be released. However, like the rest of the album, its charm also comes from its rawness and imperfections, whether the distorted electric guitars in its instrumentals or the cracks in Slater’s voice. Succeeding in all its ambitions, ‘Aeroplane’ is a hopeful sign of what will come from Wunderhorse in the future.
Midas strives to both dissect contemporary society and offer an antidote to it. While its lyrics vividly portray the ills of modern life, its sound revives the essence of classic guitar music. In an era where some claim guitar music is dead, the rise of Wunderhorse is a powerful testament to its enduring relevance and a hopeful sign for its future.
Post-hardcore, yoga mornings, folk-rock bangers, the legendary Bunnymans, and four nights of silent disco. Where else could we be but 2000trees Festival?
With the United Kingdom buzzing in the strange afterglow of a landslide general election and the flags of Glastonbury only just beginning to fade from memory, all is quiet and peaceful in the rolling hills of Cheltenham, the picturesque home of 2000 Trees Festival for the last 17 years. All will not be quiet for long, though.
As is tradition, the gates open mid-July for 15’000 loyal fans to return to Upcote Farm for a weekend of alternative, emo, and hardcore. The Festival bagged the 2022 and 2023 Best Medium UK Festival Awards and also boasts an award for Best Festival Loos- we went to check out what all the fuss is about. Long story short: We Get It.
Photo by Carla Mundy (2024)
In No Particular Order, Here’s What We Liked…
Waking up to a sea of tents, the distance sound of hardcore, and a portaloo line exclusively of bearded, tattooed men may not be what most associate with ‘zen’- however, this was not to stop the alt-loving festival-goers from rising with the sun and stretching through guided morning yoga in the forest. To be fair- yoga is the best way to warm your body up for a day of push pits and crowd surfing.
For the keeners, the gates open on Wednesday, where you could enjoy an intimate Boston Manor set in the Forest and a whole extra night of silent discoing (don’t knock it till you try it m’alright).
I arrived with the masses on Thursday morning, and after a brief struggle with a tent pole (“Why did I bring a five-man tent?!), it was straight to the bands. It doesn’t take long to re-familiarise yourself with the Trees layout – it never changes much from the year before. If it ain’t broke, don’t fix it! The Axiom and The Cave are my favourite spots to relax; I find them to have the broadest mix of bands and often the wildest crowdest. There is something about two huge tents parallel to each other in a field (The Cave often harbouring the heavier bands) teeming with back-to-back music that is unparalleled in its coolness.
Enola Gay @ The Axiom. Photo by Carla Mundy (2024)
My first band of the festival is Enola Gay @ The Axiom which is one hell of a way to get started. The tent quickly filled up – maybe their 2023 Trees set had set an exciting precedent, or maybe the promise of new music got people down early. There seemed to be a huge mix of fans and pleasantly surprised foot traffic out exploring the festival for the first time and stopping to get involved. The band brought their usual electric-charged set, with their infamous political commentary ranging from George Bush ‘it was an inside job!’ to borders and racism ‘fuck you if you spread hate!’. Very much in keeping with their Irish new wave counterparts Girl Band, they are as loud and pissed off as ever, with guitarist Joe McVeigh creating such a wall of sound with his pedalboard that he has a chance to drink an entire pint between riffs onstage. Very impressive.
Next up we are heading over the dirt track and into the second field which sports three bars, a kids area, the NEU stage and the Main Stage, with food vans dotted around the perimeter.
There is a definite buzz about the crowd. I overhear a couple discussing how this is the reason they purchased tickets for 2000 Trees Enola Gay @ The Axiom. Photo by Carla Mundy (2024) it’s Manchester Orchestra @ Main Stage time! I am an old school fan of MO and hugely respect their catalogue, having been immensely inspired by their songwriting over the years. However, I feel open-air stages do not do them many favours, and the set falls somewhat flat of what I had expected. To be fair though, the vast majority of the audience seem captivated by the performance. I find myself looking around during this set, taking in the experience of thousands of people united in one moment.
A couple embrace during Manchester Orchestra. Photo by Gareth Bull (2024).
As luck would have it, me and my partner were celebrating our one year anniversary on Thursday, having met the year previously at Trees and enjoyed seeing Origami Angel, Heart Attack Man, Microwave and Prince Daddy & The Hyena together. We were stoked to be catching Hot Mulligan @ The Axiom next, as they are his favourite. They are playing The Axiom, and the tent is packed out to catch the American emo quintet. The crowd was especially memorable for this performance, knowing every single word to the songs and going over the barrier time and time again. Singer Tad looks equally happy and exhausted, as he explains this is the final date on their tour ‘I can’t wait to go home and hang out with my girlfriend’ he tells us. Compared to their set at Outbreak’s main stage a few weeks previous, where we felt slightly let down by the performance, The Axiom is a perfect pressure cooker for the energy of the band, the sound is spot on, and the vibe is immaculate.
Hot Mulligan at The Axiom. Photo by Gareth Bull (2024).
Friday @ 2000trees Festival
Having had an early one Thursday night, I’m up bright and early to catch the next wave of bands on Friday morning. Mouth Culture @ The Axiom is the first stop on the list, and I have to spend most of the day recovering from the shock of how good it is! I’ve seen these guys so many times before- their charming Leicester accents and larger than life rockstar attitudes are always a pleasure to be around. I really do mean that!
Leaving the Axiom we wandered down through the crowds of festival go-ers, smells from the world over punctuating our slow meander, every stall a comma as we pause to read the diverse menus. My partner is vegan and definitely felt accommodated. But it was early, and though not priced unfairly, we’d decided to try and be a little sensible-cossy livs and all…
Our first time on the main stage. A fairly large open air stage surrounded by stalls, a bar and a cider bar (my boyfriend was a happy man and made a beeline, never too early at a festival right?) As Norwegian pop-punk/indie outfit Slotface began playing their unique brand of pretty, afternoon music, we spotted our tent neighbours and joined them, comparing war stories of nights, gigs and pits. The unmistakable opening chords into slamming snare could only be “Nancy Drew”, one the songs i’d been most looking forward to of the whole festival. They didn’t disappoint. A crowd once sat down in the early afternoon overcast sun rose to their feet. Slotface had done the job of an opening band on a bill or yoga in the forest: the loose crowd was now ready to move.
The first drink of the day courtesy of the Westons Cider bar had gone down so well we simply must have another, and the next band on at the main stage can only be described as “cider music”. The beauty of 2000trees are the occasional out-there band bookings. Australian Celtic Punk band The Rumjacks were that band (though in a few hours we’d find that Trees had another unconventional 30 minutes of beauty for us…). Think knees up to your nips not your hips, an Irish jig, big swig over hard rock riffs. A brilliant time.
Friday’s line up was frankly awesome. A great mixture of high energy, through former Press To Meco members Unpeople. A band I’d actually never heard before but had been told by many of the lovely approachable people I’d met to not miss. Fist pumping, big riffs, catchy hooks. They definitely made some fans that set. High energy went into technical wizardry with the extremely up and coming Philadelphia based Sweet Pill. Just insane levels of technical abilities from all the band but especially their guitarists Jayce Williams and Sean McCall. They have my vote for the best guitarists of the festival, perfectly melding mathy virtuoso riffs, with twinkles and prettiness. From the wizards to nostalgia. Turnover’s Peripheral Vision will always have a special place in my heart. In the 9 years since its release i’ve lost count of how many times i’ve heard it on long drives, late night walks or at the end of an afters. “Up and down like a red rubber ball” belted out by the whole tent as they too jumped up and down in tandem. A level of energy that doesn’t really suit a sleepy band like Turnover but the passion and nostalgia around that album was palpable.
As I said, Trees has a knack for booking unconventional bands and it’s those who tend to be the set of the weekend. This year was no different. As we wandered down past rows of tents, flags embroidered with inside jokes and stand up comedy in the Word tent, we entered The Forest Stage. Stopping by the bar for a White Russian (£10 but money well spent, Heroes buy Beeros after all) we gracefully traversed an almost litter free forest floor, dodging between trees and Trees 2024 tshirts into an electric atmosphere. It was as though the thick canopy above was containing the excitement of what was to come like a kettle. Then came the whistle. Dressed in matching white boiler suits a band enter the stage, a permanent wooden structure that blended in naturally to the forest at Upcote Farm. A bassist dazzles playing at almost laughable speed and accuracy. If it was a video I’d think it was 1.5x speed. A song starts, more jam than tune, each member displaying their proficiency, near mastery of their instrument. The singer starts but there’s technical difficulties. The sound tech brings another mic, the singer starts, technical difficulties…The singer uses this opportunity to be as playful with the crowd as the band are with their jam, offering his hand to the masses of fans only to slyly pull away. Oldest trick in the book. Trees is officially at boiling point. The rhythm, the energy, the….Funk…It’s Thumpasaurus! The band come crashing in to You Are So Pretty. Instantly the forest is dancing in unison, a Richtor scale event you would expect from Shambala not 2000trees. Pretty soon, the festival’s rock and hardcore sensibilities come out. The likes of Jaco Pistorious and Herbie Hancock could never have expected that one day jazz funk would have crowd surfers coming in from every angle down a forested hill. The security team weren’t expecting it either. What started as 1 lonely high vised staff member soon escalated to 8 heavies frantically scanning the crowd, carrying laughing punters over the barrier. By far, it was the most high-energy, fun performance I’ve seen all year, if not ever, and it was all for a comedy jazz funk quintet. Cannot recommend them highly enough. Thumpasaurus made us “Dance Like It’s Your Life”
Saturday @ 2000trees Festival
Public Service Announcement: Remember to fill up your water bottle BEFORE you go to bed….
A heavy, loud night at the silent disco…Though you can control the volume of the multiple stations on the headphones, and can control the amount you drink, when one goes up so does the other…A 10 minute queue for the water station gave me chance to take stock: wallet – check, phone – check, camera – uh oh, dignity – does screaming along to My Chem until 3am count??
Testament to the festival’s popularity, especially the Wednesday, by the time we’d arrived mid afternoon on Thursday we already had to make the 15 minute ascent up the hill to find a spot in the overflow camping site. Next year we’ll definitely be coming on Wednesday, always a great line up and 1 more day in paradise!
We ventured down from our 5 man palace just in time to catch Michael Cera Palin. The full-to-the-brim and beyond tent showed the appetite for sad, awkward dudes writing catchy songs about life is still as prevalent as it was 10 years ago. Their cover of “If It Makes You Happy” is required listening for everyone in the scene, and should be counted among the likes of “Hurt”-Johnny Cash as covers that feel more like the song than the original.
Saturday was a slower day for me in terms of bands I was really excited to see- so warm can in one hand, and Bunnymans in the other I sat down at the main stage to listen to something new. Though Dune Rats were pretty good, playing their brand of “lunkheaded punk noise” in a no-nonsense-all fun way, the star of the show was Bunnymans. A hunk of soft white bread hollowed out and filled with chilli, topped with hummus and your choice of spicy or mild. I went for the spicy to blast out the demons of the previous night. There’s something carnal and primal about the ability to eat the vessel one’s food is served in, like Heston Blumanthal of the Medieval. Now, back in the real world, I find myself disappointed every time I eat with knife & fork from a plate or bowl. My heart yearns for the hearty Bunnymans Bunnychow. Dune rats were pretty good, too.
Though I am not well versed in Frank Turner & The Sleeping Souls, I have camped in his eponymous campsite in previous years, and have seen small bands having the time of their lives on the Camp Turner stage playing an acoustic set to a sea of revellers for whom live music will always beat silent discos. Bands like Our Nameless Boy, Trashed and Blank Atlas, who impressed so much with their glorious 3 part harmonies, actually played the Neu stage on Thursday this year. To a crowd that proves why Frank Turner and 2000trees go hand in hand, the part folk/part punk rocker made an explosive entrance with “No Thank You for the Music”. My personal highlight was “Worse Things Happen At Sea”, an old Turner song that shows off his emotional writing abilities extremely well. It’s impressive for an artist to make it to their 3000th show, and this set showed how he did it, and how many fans there are out there willing to see 3000 more.
Sunday @ 2000trees Festival
That’s it. Time to go back to reality for another year. Well first we have to leave the car park…
We’d managed to score a lift back with some friends we’d bumped into at the festival, loaded our packed away (crammed away) tent and bags into their boot and joined a queue to exit. Spirits are high, and music is on (Dub, as requested by our friend who didn’t actually like alternative music and was just there for the vibe, though they are now a convert to Enola Gay & Spanish Love Songs). Minutes become an hour, become two. We leave the car to see what’s taking so long. The whole time, we’d been queuing behind a parked car with no one in…User error. We got out pretty quickly after that.
2000trees Festival
I love 2000trees. You can really see how it won its awards and acclaim. A multi-generational group of fans of different strokes of alternative music united in their love of guitars and being nice to each other. Every year when the lineup comes out, there’s always a handful of bands I’m really excited to see, then a load of bands I’ve not heard of or heard properly. I find it’s the second group that makes this festival worth coming to every year. If you have a gap on your Clashfinder, you can wander into a random stage or ask one of your fellow Trees goers, and you’re guaranteed to find something decent.
A great selection of food and drinks, expensive but not outrageous, and you have the opportunity to bring your own if times are tough (though heroes do buy beeros). You never have to queue very long for a drink and if you do then talk to the people around you, big shout out Sam! Toilets aren’t bad at all, with the poo dudes cleaning every portaloo every day. The accessibility platforms seemed in good places and the staff were very helpful to people’s needs.
I don’t have kids but the amount of parents who brought their little rockers shows it is a family friendly festival, important as fans of emo and hardcore finally start growing up. I plan on coming back year after year, so it’s nice to know as life changes there’s still a place for everyone at 2000trees at Upcote Farm.
With it being 20 years since the release of their debut album, some may dismiss Keane as a time-worn band, superseded by newer alt-rockers. However, situated amongst the picturesque ruins of Glastonbury Abbey, and coupled with the slowly setting sun and a gentle summer breeze, Keane’s performance is ethereal and otherworldly. With a crowd of 10,000 people, the show is more of a cathartic, collective experience than a simple gig.
The set is a mix of their hit songs, with a particular focus on tracks from their debut album, Hopes and Fears, released 20 years ago. Beginning with the upbeat ‘Can’t Stop Now’, Keane set the tone of the night as energetic but nostalgic, and the crowd are captivated from the start.
A few songs in, singer Tom Chaplin has only three requests for the audience – dance, clap, and sing along – and everyone in sight does so. The crowd is a whirling mass of singing and dancing, with each person basking in the electric, energetic atmosphere induced by the lively numbers ‘Spiralling’ and ‘Crystal Ball’, both of which have a distinctly pop-y sound and shout-worthy choruses. This energy is contagious and spurs the band on, with Chaplin jumping and spinning around the stage, feasting off of the crowd’s enjoyment.
His crowd engagement remains fantastic throughout, such as conducting the whole crowd through the echoing ‘oh-oh-oh, oh-oh’s’ during ‘You Are Young’. This jaunty song is backed by a cheery piano and places Chaplin’s belting voice at its forefront. There are no dynamic visuals on the background of the stage, just a simple stationary, sketch-style drawing, and it is Chaplin’s presence alone that keeps the crowd enchanted.
Hidden amongst the throng within the Abbey grounds, this uncharacteristically peaceful moment feels sacred
Following a touching, heartfelt speech about the importance of discussing mental health is ‘The Way I Feel’, a cathartic pop-rock tune which combines the sensitive topic of mental health struggles with a rather energetic, uplifting beat. The vulnerability of this song makes this performance particularly poignant and moving, amplified by the thousands of voices screaming, wondering if there is “something wrong about the way [they] feel”. By Chaplin’s own admission, ‘The Way I Feel’ is a newer track but a firm fan favourite, and the energetic flurry of jumping bodies and waving arms throughout the song solidifies this.
Richard Hughes’ drumming is also a really impactful, integral part of Kane’s performance. Each thump reverberates deeply and brings each song to life in an even more powerful way when listening to their studio recordings. Nowhere is this more apparent than in ‘Perfect Symmetry’, which sounds significantly heavier and rockier than its studio counterpart.
A hush descends on the crowd during the softer, piano-driven ‘My Shadow’, whilst a sea of phone torches twinkle in a magical spectacle of dancing light. Hidden amongst the throng within the Abbey grounds, this uncharacteristically peaceful moment feels sacred, and the audience’s reverence and wonder is palpable as this is also the first time ‘My Shadow’ has been played on Keane’s Hopes And Fears anniversary tour.
‘A Bad Dream’ also begins slowly with a simple drum beat, but Hughes’ thumping drums eventually erupt into a dramatic, immense instrumental section, with Chaplin even playing the piano. This is a really stand-out moment showcasing the incredible musical talent of the band. Whilst most of the set is very energetic, fast-paced, and upbeat, these slower songs are equally gripping.
The gig literally goes out with a bang, closing with an impressive fireworks display that ties together the spectacle.
The main set ends with the classic tune ‘Somewhere Only We Know’, which is met with a spine-tingling, choir-like reception as 10,000 voices unite to recite every line whilst Chaplin watches on in awe. Paired with the ambience in the Abbey, this is truly magical.
The epic, emotion-driven ‘Bedshaped’ closes the encore with its haunting keyboard and dramatic guitar solo. The song’s rocky quality is really amplified, and Chaplin’s powerful, dynamic voice is stronger than it was when it was released in 2004. The band seamlessly carries the show to its end. The gig literally goes out with a bang, closing with an impressive fireworks display that ties together the spectacle.
Keane put on a stellar performance, showcasing their incredible catalogue spanning the last two decades. The audience’s constant singing, dancing, and laughing is a testament to how deeply their songs still resonate with listeners, and their performance is more refined and engaging than ever before. Having grown up listening to Keane, I feel truly lucky to have attended this gig and to have celebrated 20 years of fantastic music by a band who have defined my music taste for pretty much my whole life.
It has taken a while for beabadoobee, or 24-year-old Beatrice Laus, to find her sound. From the bedroom pop of her early EPs to the alternative grunge rock of Fake It Flowers to the potpourri of genres found on Beatopia, beabadoobee is no stranger to experimentation. But amidst the experimentation, she still maintained her signature dreamy melodies and introspective lyrics, which made thousands of Gen-Z fans flock to her. Having laid such strong groundwork for herself on her previous albums, she easily could have ventured into any of these different directions. However, experimentation takes a back seat on This Is How Tomorrow Moves. The result is a distinctly beabadoobee-esque album that lacks the thrill of something new.
The album has enough elements to make it enjoyable: sonically, the bossa nova and Latin jazz influences make ‘A Cruel Affair’ feel like a sequel to ‘The Perfect Pair’ from Beatopia, but still feel fresh and exciting in the context of the album. Similarly, the country-tinted ‘Everseen’ – a product of her time touring with Taylor Swift as her opener for The Eras Tour – is a welcome shift in sound mid-record.
In fact, it isn’t difficult to imagine many of these songs slotting in seamlessly with her previous efforts
With Laus having enlisted legendary producer Rick Rubin on this album, there is no denying the production on This Is How Tomorrow Moves is polished and beautifully slick. The instrumentals are skillfully layered and do well to bolster her breathy vocals, whether it be the jazzy saxophones on ‘Tie My Shoes’ or the string arrangements that make several appearances throughout. But instead of driving her down any one of the avenues she dipped her toe into on Beatopia, or, indeed, in a completely new direction, the samey production pushes her into a comfortable yet overly familiar beabadoobee-shaped box. In fact, it isn’t difficult to imagine many of these songs slotting in seamlessly with her previous efforts. The thrashing guitars in ‘California’ would sound right at home on Fake It Flowers, whereas ‘Tie My Shoes’ eerily echoes tracks from her 2021 EP, Our Extended Play.
However, where This Is Where Tomorrow Moves shows significant growth is in its songwriting. The LP sees Laus step away from blaming others for her feelings and instead take accountability for her actions, whether it be her commendable self-awareness on ‘Take a Bite’ and ‘One Time’ or her newfound maturity on ‘Real Man’, where she recalls an underwhelming one-night stand.
This Is How Tomorrow Moves still marks a step forward in beabadoobee’s growth as an artist
When she isn’t basking in her outward-facing confidence, Laus still leans into her vulnerability, perhaps another product of her time touring with Swift. Pairing razor-sharp lyrics with a silky piano arrangement, ‘Girl Song’ is an emotional whirlwind of a track where she methodically breaks down her insecurities. And then, without a moment to reflect on the emotional weight of what has come before, Laus proceeds to propel the listener into ‘Coming Home’, a heartfelt ballad describing coming home to her boyfriend and cats after being on tour, providing some much-needed comfort in the wake of ‘Girl Song’.
Despite this brief stalling in the evolution of her sound, This Is How Tomorrow Moves still marks a step forward in beabadoobee’s growth as an artist. Strong lyrics with newfound boldness make for a record that is, while not particularly innovative, still relatable and enjoyable. In the words of beabadoobee herself, “In a way, I’m still figuring it out in my own way”, and that’s okay. There will be more beabadoobee records in the future, and one minor hiccup will not tarnish everything she’s accomplished thus far.
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