A music magazine made for young people by young people.
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CONTENT:
Editors Introduction.
The Punk Sound of the South Coast.
Olivia Dean: The best new pop/R&Bartist of the decade?
Content
Pixies: Aviva Studios.
Sparks fly at the live debut of Overpass' 'elsewhere always'.
The Guest List Interview: On the Resurgence of Indie Rock, Their Debut Album, and Playing Live in Cardiff.
Two Door Cinema Club at Crystal Palace Park.
Content
Summer Releases: The Fight For the Song of the Summer.
Why is Nostalgia Dominating the Charts?
Amy Winehouse: The Soul That Lives On.
Hello! And Welcome to SEVENTH, the music magazine by young people for young people. I created this magazine as an outlet for people to begin their journey in music journalism or photography or for their writing to be published somewhere for the first time. I knew how difficult it was to begin finding experience as a current student journalist and I wanted to be able to have something for myself as well as being the person for other people to let them have their own creative workplace. I made it clear that I had no intention of moulding anyone into a writer I wanted them to be, but instead for them to bring their own niche within the music industry they were interested in and write and create around that.
My name is Holly Carter. I am 19 and originally from Oxford, before moving to Manchester for university. I study Broadcast Journalism, and have always had a passion for the music and entertainment industry, and becoming a journalist within this sector. Being from a small town outside of Oxford, there was not a lot of opportunities regarding journalism which meant it was difficult to build up a portfolio to take to university with me. Starting off in media is incredibly difficult and I wanted SEVENTH to be somewhere where people felt that they could openly write within their chosen sector of music.
Some fun facts about me is that I actually wanted to be a hairdresser growing up, until I did my work experience at a hairdressers and realised it was not the kind of work I wanted to get into. I have always loved performing, I was a big musical theatre kid (and still am), but within Secondary School I took part in a few musicals and realised I loved being on stage. I then found the art of being on camera and making creative work.
WHAT CAN YOU EXPECT FROM SEVENTH?
You can expect a huge range of different pieces within the SEVENTH magazine, ranging from feature pieces on music itself, punk pieces, gig reviews and photography. As well as interviews with bands, producers, DJs, and even all your fangirl needs. There is truly something for everyone within this magazine no matter what genre of music is your favourite. And, if it isn't a part of it, then let us know what you would like to see! Feedback is so important in making what we do even better than before and attention-grabbing for readers.
I am so fortunate to have an incredible team of writers that have worked so hard to produce this first issue of SEVENTH, and I wouldn't be able to have created it without their determination and hard work. Full credits to them will be at the end of the magazine, but I couldn't not mention them here as well.
Credit: Simon and Kass Clay feel voiceless or misunderstood by society, and express their frustration unapologetically to the world. Whether it be for the disenfranchised youth of the 1970s or 17th Century immigrants, Punk and Country has acted as a beacon of hope for its communities.
Thousands of miles over the pond, Cowpunk also emerged on the south coast of England in Dorset, as the rowdy, rebellious sound became integral to its grassroots music scene. A figurehead in the Dorset Cowpunk scene is the band Pronghorn. Formed in 1992, the band epitomise Cowpunk with a high energy, raw, rockabilly sound as they illustrate the plight of the working-class as well as traditional folk stories. Cowpunk has well and truly found its home in Dorset, with locals joining together over this genre-defying music
THE PUNK SOUND OF THE SOUTH COAST Written By Elizabeth Harfield
When most people think of punk music they picture Doc Marten boots, smashing guitars or the Sex Pistols telling Bill Grundy that he's a 'filthy rotter! Most people would also tell you that punk is dead. However, in the heart of Dorset, punk music is very much alive in the form of Cowpunk.
Cowpunk's conception can be traced back to the 1970s, in the post-punk era, as emerging bands were incorporating the raw, brash sound of punk with traditional country and folk music. Originating in Southern California, Cowpunk artists were inspired by the legacy of Californian country music with legends such as Buck Owens and the Maddox Brother who inspired the fast paced, storytelling characteristics of this budding subgenre.
Although Country and Punk music sound as if they are polar opposites, both genres are rooted in anti-establishment, with an air of defiance against the powers that be. Artists from both genres become representatives for those who
OLIVIA DEAN: THE BEST NEW POP/ R&B ARTIST OF THE DECADE?
Written by Izzy Sanders
How good really is this album?
The album opens with the lead track "The Art Of Loving (Intro); the title track is a short prelude introducing the themes mentioned throughout. Dean does this effectively with a 41 second track, that has a soothing rhythm and minimal lyrics. She promotes living an authentic life as yourself, regardless of how or who you love.
The first single for the album "Nice To Each Other' explores themes of self-love and independency whilst also craving love from another. The lyric "I don't want a boyfriend" encapsulates the feeling of freedom of single life but always falling back on old ways with "Or we could be nice to each other". The way she belts this has made listeners on social media platforms relate to Miss Dean and have chosen to interpret this in different ways. She portrays herself as a hopeless romantic, who just wants to enjoy someone's company and attention while it lasts. 'So Easy (To Fall In Love)' is a beautiful track explaining the wonders of falling in love and how easy it is to love her. I love the lyrics "I'm the perfect mix of Saturday night and the rest of your life" and "It's so easy to fall in love with me". This really does make her fans fall in love with her and her mesmerising voice. The upbeat, light-hearted rhythm expresses the feeling of having a crush nd getting butterflies from even just hearing their name. One of her slower, more melancholy songs on the album is 'Loud'. I really love the parallel Dean uses in the lyrics showing the deteriorating relationship she was in: "At my house four hands on the piano" "Here I am two hands on the piano, the one I let you play". This song is about waking up one day and realising the person you loved was only ever with you for the way you treated them, not for being you. She touches on what it's like to start a relationship without being friends first and how it becomes difficult to move on, especially when they wanted you first. The chorus of this song is so powerful; the volume is increased, and it shows her natural emotions. It really shows how raw and human she is, just like everyone else, despite being a new star.
Olivia
Dean
On a hot, humid bank holiday Monday 3,600 people crammed into a, thankfully air-conditioned, "Andrew Law Hall" within the "home of factory international"-Aviva Studios, for night two of the Pixies' stop off in Manchester on their 40th anniversary tour. Aviva Studios itself is relatively new (opened in 2023)- purpose-built for "intimate theatre shows and intricate exhibitions" located on the outskirts of town typically a "landmark" rather than a music venue.
Tonight, the pixies would provide their own intimate experience as they churned out decades of rock and roll classics to an eagerly anticipating audience. The audience in question- a diverse mix of ages proving the bands increasing relevance in the ever changing music scene of today.
We were warmed up by the new on the scene, midlands trio GANS who, fusing
P woodwind instruments with moody synths and reverberated drums kits, resembled a sound similar to lcd soundsystem. However, the sheer uniqueness of the performance resembled something indescribable and almost impossible to categorise as the drummer jumped into the crowd on the final song, fulfilling headstands in his wiggly flamboyant nature.
It was evident from the get go perhaps why the venue rarely held live music, as the sound quality was quiet and bluntly underwhelming, epitomized by the lack of clarity in the bands vocals as they directed the audience to wave side to side- in which there was many puzzled looks as concert goers were unsure of what they were actually being asked to do.
Nevertheless, around half an hour later, greeted by excited applause, the iconic Boston band walked on stage, Black Francis paying homage to the 40th anniversary with his steaming mug of tea held to the crowd. With little to no hesitation
Pixies: Aviva Studios
Pixies: Aviva Studios the set was kicked off with River Euphrates, a song perhaps even more relevant today than 1988 when it was written. The uncomfortable vocal harmonies set the tone for the rest of the set as Francis sings with newcomer Emma Richardson who fills the position of Kim Deal, firmly cementing her place whilst making it entirely her own.
The set moves smoothly and quickly- the first four songs blending together as if they were one, all of which reflecting the earlier years of this 40 year anniversary and the impressive, vast catalog this band carries. Unfortunately, throughout these opening songs problems with sound remained as Francis was washed out by This counterparts, receiving many shouts from the audience requesting to "turn the vocals up". Luckily, these issues were dealt with just before
P the audience were flung into euphoria as Lovering bashed out the iconic grungy drum intro of "Bone Machine", accumulating a small mosh pit (of all ages) towards the front barrier. Black then declared "this is Debaser"- Richardson greeting the declaration with the bouncy bass riff which further fueled the moshpit- full of all generations from the four decades of the band's anniversary.
Classics were then rattled off such as monkey gone to heaven which was well received by the Manchester crowd triggering a sing along that was arguably louder than the performance itself, the poor acoustics of the venue once again evident. Richardson then took centre stage, demanding attention, as she performed the infamous, downtempo cover of David Lynch's "In Heaven" which rapidly transitioned into the surf rock esc "Here Comes Your Man", once again igniting the moshpit which had now grown to a considerable size.
The unavoidable "where is my mind" then cast a reflective mood of the set, infact the last 40 years of pixies legacy, as Santiago's screechy guitar rung out through the venue for the penultimate song of the Pixies' short visit to Manchester. They then closed in style with "Into The White" which I interpreted as "Into The Heat" as I prepared myself for the long walk back to the car through the remnants of the heatwave.
The band united center stage applauding and bowing to the crowd before departing into the foggy backdrop behind. It could be the last time this band tour, although whatever the future, Manchester received two nights of iconic, like no other, forever relevant sound.
The Boy Who Played
THE BOY WHO PLAYED THE CO-OP LIVE
Following the success of Dave's third UK number 1 charting album The Boy Who Played the Harp (TBWPTH) it would have been a disservice not to bring the record on tour for fans across the globe to enjoy it live. Having not toured for over 4 years fans were eager to get a glimpse to see the magic of Dave.
Starting the tour in Munich, previous stops have included Paris, Amsterdam, Birmingham and four sold out hometown shows at the 02 in London, to name a few. Co-op Live Manchester welcomed Dave on the 16th and 17th March 2026, to close the European stretch of the tour. Despite the catastrophic opening of the venue in 2024, the Co-Op Live now is now a worthy competitor to the AO arena (or the M.E.N arena depending on how old you are), if not having overtaken it, as, in my opinion, it has set the standard of what an arena should be like
The job of opening the show was given to the Lost Boys - a pioneering collective of UK underground music / fashion enthusiasts with notable members including rising stars YT, Len, S5 and Omgronin to name a few. The group did a substantial job of warming the crowd in preparation for Dave's arrival.
The clock struck 21:00, the lights abruptly switched off and the tour visual started to play. It was time. Greeted by a howl of screams, it was obvious Dave had taken the stage. 'History' the opening track of the album blared through the speakers as Dave effortlessly delivered his lyrics alongside the live band. Begowned in a custom Stone Island tracksuit designed specifically for
TBWPTH tour - the collaboration made history for the brand (no pun intended) as this was their first time working on a project for a musician. Despite it being the TBWPTH tour it wouldn't be a Dave show without playing fan favourites such as Grime classic Thiago Silva, Professor X and Location amongst others.
If one UK rap legend in the building wasn't enough how about two? Kano, an influential figure of the Grime scene and lead star in Top Boy (UK drama series following the lives of individuals navigating their way around the unpredictable London drug dealing scene) came out to join Dave to perform Chapter 16- the fourth track from the album. The song represents a conversation between the two artists exchanging praise and advice for each other, the realities of the extravagant lives they lead and everything in between. Even though this was a standout moment for the show, I personally felt the moment was ruined by the number of phones capturing the moment (inevitably), and a majority of people in attendance seeming not to know the lyrics. Having seen Dave on the We're All Alone In This Together tour in 2022, it was great to see he hadn't lost his touch and that the show was well executed. Dave continues to prove he's not only one of the most talented recording artists in the UK but equally as accomplished as a live performer. The tour has set the precedent of how to put on a show from playing the piano and guitar live, having immersive visuals, lighting and personal crowd relationship.
Photo Credits Dulcie West
pushbike
ELWELL, THE WAITINGROOM, LONDON Photo Credits Dulcie West
HARRY STYLES: THE FAN FRENZY Written By Georgia Rutter
As summer quickly approaches in the UK, so do the 12-night residencies of Harry Styles' Together, Together tour at Wembley stadium. Sparkles and ties pouring down Wembley Lane as the "Harries" come together for another Harry Styles tour.
Known for his charming looks in the hit pop band One Direction, Styles is notable for his very flamboyant fan base. Going from feather boas and bright colours to disco balls and business casual. The Harries really put a mark on what it means to be a fangirl.
They show up, they impress the crowds with some even going as far as dressing up in blow-
Harry Styles: The Fan Frenzy up koala outfits, all whilst dancing within the pits. They tell the story of the community purely through their bond. Whether it be through social media or at the concerts, the fangirls strive for the community they consider "girlhood! So far during his London residency, which had lots of talk about it not selling out, has seen many fans taking the stands and the floor for a night of dancing, coming together to sing and celebrate this musician who means a lot to many people.
From the trail of feather boas in 2023 to the trail of glitter and sparkles, Harry Styles and his fandom have really made a name for themselves
Harry Styles: The Fan Frenzy in the history of what being a fangirl is. From One Direction to his solo career, his loyal followers and fans have been by his side for the longest time. Making them fangirl name bigger and better.
As the residency shows troop through the months of June and July, and the weather gets hotter, the fans are constantly looking out for each other, making sure they keep each other safe, and prepared for the long wait that is the show, especially during the hot heatwaves that are to come.
One thing to notice at these shows, is the sense of community that can be seen throughout the standing pit. Through the dances such as the 'boot scoot' and the conga lines to 'Treat People with Kindness' all the way to the subtle sways of and ballroom dancing to 'Coming Up Roses'. The Harry
Styles fandom means so much to so many people that simply look up to him. Videos shown all over social media portray this coming togetherness, this community, this family of fangirls who have all come together to see this singer of theirs that they adore.
A lot of controversy has come off this tour, with the ticket prices being extortionate and unaffordable, leading to it not being completely sold out, however once people saw what the concert atmosphere was like, complaints disappeared with people buying tickets to other shows. Another complaint that was a big issue throughout the beginning of this tour was the stage layout, causing restricted viewing for the people in standing, especially after spending so much money for the ticket. The tour team were quick to example, the first song of the London residency was 'Little Freak', in which it broke up from his usual pattern.
Everyone that has attended has said nothing but good things about this tour. Stating that you "will be non-stop dancing the whole night" and raving that it was "one of the best nights ever". Truly an unforgettable night to so many.
sort this out near the end of the Amsterdam residency.
When it comes to big artists doing concerts nowadays, there is usually a surprise song section. During Love on Tour, Styles had a surprise song on whether he would play an unreleased song, 'Medicine', or not. This leg of the tour, the surprise song section consists of three songs: 'Matilda', 'Paint By Numbers', and finally 'Love Of My Life' with the odd song thrown in then and there. For
TRUCK PRESENTS
There is a distinct atmosphere when a truly beloved band returns home to perform, and Birmingham rising stars overpass embodied that on Friday the 5th of June with the release of their debut LP, Elsewhere Always.
SPARKS FLY AT THE LIVE DEBUT OF OVERPASS'
'ELSEWHERE ALWAYS'
Written By Max Brooks
FFO: Sam Fender / Wolf Alice / Inhaler It's been a long time coming for the city favourites, having faced tribulations since the group's conception just weeks before lockdown measures struck the UK in 2020, but nevertheless the quartet thundered on releasing a slew of highly regarded singles and two EPs that solidified them as figureheads in the modern indie rock movement. And now, years in the making and featuring long awaited singles that were regarded as instant classics, it was clear overpass were beginning to come into their own with full and illustrious strides.
An absolutely packed out Mama Roux's was electric from the get go as overpass emerged into a red hot room, and the droning riff to their lead single, Union Station, began to ring out, igniting further fury. From start to finish, fans were chanting back crooning lyrics to frontman Max Newbold's, singing over the ear worm entanglements of Elliot Rawling's guitar and dancing irresistibly to thumping basslines from Indie Armstrong, all set to the groovy metronome of Jake Bishop's pounding drums. The onslaught from the quartet didn't end there, as before the crowd could even begin their applause overpass launched into the lovetorn lullaby of their most streamed single 3AM, and from then on they did not let off for a second. With each consecutive song overpass expertly navigated an amazing se complete with a full play through of the fresh-off-the-press LP and studded with classics from previous EPs, Dependent and From The Night, with tracks such as Take It or Leave It and Beautiful.
By the end of it, leaving a crowd giddy with awe of a brilliant live debut performance of an electric debut LP, the floor sticky and littered with Birmingham Brewery's branded overpass Brummie Beer, it was undeniable to all that Elsewhere Always is soon to be regarded as a classic and certainly a highlight of 2026s indie catalogue.
Anyone who frequently observes brilliantly fresh independent bands in grassroots venues like Mama Roux's, will know there comes a point only few bands are successful and lucky enough to reach; when the crowd hangs off every word just as much as pelting it right back at the stage, when for just an hour of the day the entire room is taken from the highs and lows of individual life and becomes as close to a single force as the act they have all come to see. This is the telltale point in a group's career where they show to have developed past being a sum of their inspirations, and come into their own to solidify themselves as the latest trailblazers in an ever changing musical scene here in the UK. And if that sweaty evening debut was anything to go off, overpass are definitely long on their way to superstardom.
You can catch overpass yourselves at multiple events this year; including a bound-to-be gigantic placing at both Reading & Leeds festivals respectively and their own headline tour which is set to kick off in October and go into the winter ofthis year. Be sure to check out 'Elsewhere Always', available on all your favourite streaming platforms and physical formats.
TRUCK PRESENTS
Overpass
THE SOUNDTRACK
OF SUMMER
There's something about summer that just makes music sound different. The longer days, holidays, hanging out with friends, all of it connects mu- sic with memories. Every summer has its own soundtrack but some songs I just keep coming back to summer after summer. Here are my top 3 song picks for this summer.
Brazil
I think everyone will agree that this song is a staple for summer. Its upbeat anthem sounds just like a sun- soaked day at the beach. It's like listening to a memory, when I hear the opening chords I instantly get trans- ported to summer. The world cup started earlier this month which makes this song even more perfect for this summer.
Cherryholt are a newer indie pop band with tunes reminiscence of the Kooks, Bloc party and The Wom- bats. Their upbeat music is perfect for Summer, this song has a particular nostalgic feel to it creating an ad- dictive energy. It sounds just like a song that would've been popular during the 2010s.
Since releasing their fourth studio album 'Romance' it's no secret Fontaines took the indie music scene by storm. This song, once again, has that nostalgic feel to it. Wrapped in dreamy instrumentals it creates an atmosphere that's more reflective than explosive, per- fect for summer days.
The best summer songs are more than just tracks on a playlist, they become a part of the moment them- selves. Summer may only last a couple of months but music stays a consistent reminder of the memories which is what makes it so special.
Last month I was offered the chance to attend Mancunian band The Guest List's sold out show at Clwb Ifor Bach. If I'm truly honest, hadn't heard much about the band before they reached out to me, but I'm so grateful that I was introduced to their sleazy, yet poetic, early Britpop-esque sound.
I was keen to ask them what the genre means to them, especially with indie rock sound coming back into the mainstream. Sat on a sofa, hunched over a voice recorder, I asked lead singer / frontman Cai Alty and drummer Angus Gilchrist about the build up to their debut album, the lyricism of their single, and the anticipation before playing huge UK festivals in the Summer.
The Guest List Interview
THE GUEST LIST
THE GUEST LIST INTERVIEW: ON THE RESURGENCE OF INDIE ROCK, THEIR DEBUT ALBUM, AND PLAYING LIVE IN CARDIFF
So you released your most recent single 'Something Real' in February and it's been received really well. Could you dive a bit into the meaning behind this track and the significance of the lyrics?
C: I wrote the song - I think people think it's kind of a pessimistic song, but I don't really see it like that, I more see it as creating something real amidst the confusion of everything that's going on in the world right now. 'War is on trend' was the first line that came to me. That was originally going to be the first line of the song, but my manager came to me and said he thought 'hate is on trend' was broader; and 'war is on trend' was something to narrow in on in the second verse.
You've grown massively as a band by opening for well-known acts such as Blossoms and Two Door Cinema Club - what's your favourite band you've opened for?
C: I would say Inhaler
A: I would say Blossoms.
Anything in particular that made you admire them?
E: Blossoms, on stage, are just such a good band. No one really does a similar thing, and they've got great tunes.
K: Both of them are really nice. It's a huge plus when they love our music, too.
You've gone from having 50K monthly listeners on Spotify in 2024 to almost 100K today. What do you see in the future with the release of your debut album and playing festivals like Reading and Leeds, and Tramlines?
C: We're hoping to just keep going. And yeah, we're releasing an album so this next single will be single two. Reading and Leeds is a massive thing for us; we went to Leeds so it's very exciting.
Can you tell me a bit about how you started the band?
A: Just knew each other at school, really. We played in the school swing band together and that's how he knew that I played drums.
C: In the band before I was actually the guitarist, not the singer, so for a few years I wanted to be like Slash or David Gilmour. But then I started writing lyrics over lockdown, and it didn't feel right to not sing the songs I wrote.
Who were your biggest influences in the early days?
C: I think Joy Division is a really key one for me, I was obsessed with them.
It's clear that indie rock is making a comeback with Radiohead and Oasis touring recently. Do you have any personal favourites and how has the genre shaped your band's identity?
A: I think that Radiohead are one of the best bands ever... We missed out on their last tour because it clashed with our shows, hopefully they'll do a new tour and we along to that.
C: Oasis are obviously massive to like every band. Especially to us since we're from Manchester. Their first two albums are definitely part of your formative listening, at least to me; and have really influenced my writing. Some people, some bands, aren't happy about them coming back, but I think it makes people look around at the bands of this generation mor than anything.
Do you think the demographic of indie rock, wher it be fans or artists, has changed over recent years?
A: Yeah, I mean like everyone our age grew up listening to Oasis but honestly there's always a different level. Sometimes the music's really popular, and sometimes you might be in a dry period, where bands aren't doing a lot. But I'd say in Manchester, and the UK as a whole, there's so many younger indie bands coming up; always touring, always releasing. So I think, the good thing about that is it helps cbecause people find the there's so many bands, so with the breadth of music yo guaranteed to find a band really love. I think that gets more people into it and makes it more accessible.
What's your advice for young people who want to get into music?
don't need to nk we rushed in, but there's always so benefit either way. It's good to build the backs of songs, because that's what listeners care about. We get asked a lot, because small bands like coming to our shows and always ask us for adv getting management, etc. And it's quite hard t that without strong son know that we went really early doing cover and that's what got us well known. I don't think you need to rush into that a much.
A: Enjoy it as much as you can. If you're not enjoying it, there's no point. I played drums for five years before joining my first band; we started because we just wanted to have fun and play music together. We couldn't do that at school, so we went to Kai's garage instead
- just doing that took us to where we are today. So focus on stuff you enjoy, if not, it's hard to get your head down and practice, rehearse, so gigs. A lot of people don't get to do the thing they enjoy most as a job.
[Chorus]
[Verse 1]
And I know that it blows your mind
Just to hear me saying something real
Hate is on trend
Bouncing arou arrot cages
Sinking down the hole that Yeah, something real never ends
As you sit with that look in your [Post-Chorus]
Many ways you change the world below
And I know that it blows your mind
Just to hear me saying something real
As you speak with that look in your eye
[Chorus]
And I know that it blows your mind
Just to hear me saying something rea
Yeah, something real
[Chorus]
And your world couldn't brake in time
To believe there could be something real
[Post-Chorus]
Da-da-da-da-da-da know I could blow your mind
Da-da-da-da-da-da
I could blow your mind With something real
War is on trend he media won't talk about it Controversy sells once again As you sit with that smile on Your fa
Like could never understand
The meaning of your gestures
How you held them in the palm of your hand
As you spoke with that obvious look in your eye
TRNSMT
TRNSMT
How's it going man?
VANDA
FFO: Title Fight / Sonic Youth / Sunny Day Real Estate
Energy driven, spilling with emotion and devoted to classic alternative noise rock's heavy riffs whilst still being able to present themselves in a way never seen before. Tooth; consisting of Tom Pollock (Vocals + Guitar), Ben Ashley (Guitar), Charlie Arnison (Bass) and Roy Lowe (Drums), have made a name for themselves in ring leading dynamic and emotion driven performances in their hometown of London, and celebrated the release of their highly-anticipated debut EP 'Restless in Bloom' on Friday 12th June with 3 stellar performances across Soho in London. With 3 prior single releases in promotion of the release, each gaining increasingly wider and enthusiastic reception from critics and new followers alike, the release of these tracks had been long awaited by all before its official release.
With the day kicking off outside Third Man Records, Marshall Street, a hungry congregation grew, eagerly awaiting the band's arrival. At 6PM sharp, the band emerged in the record shop's signature Blue Basement venue, officially marking the beginning of the daylong EP release party. Playing to a packed out room, Tooth ripped into debut single Age of Innocence, the first track; not only released, but written by the band as a four piece collective, and dearly beloved by fans as a soon to be staple coming of age track for 2026. Whilst the energy grew and sweat poured, Tooth delivered a flawless performance of their debut record, managing to find time to include fan favourites such as Mess You're In and a freshly revised rendition of Take Me As I Am.
Following the first event's conclusion, and with a second show soon to follow at 7PM, fans stormed across Soho to reach Rough Trade, Denmark Street. Here a stripped back acoustic trio, with first-class drummer Roy taking a seat for the short set, was enjoyed by all; featuring 3 intimate versions of EP tracks; (Innocence, Medicine and Wallflower). These renditions highlighted the delicacies in both the musical composition and lyricism within each of the tracks, an element that is easy to lose track of within Tooth's usual rough-and tumble sets. The quartet c session, of which every one in attendance received at first entry to Rough Trade.
British
'Restless in Bloom'
BCEGI SAR SSI MTerson
Finally at 9PM, long awaited and definitely sold out, The Blue Post, Berwick Street housed an upper room rammed with eagerly awaiting fans, some of which had taken the jolly jaunt to enjoy Tooth at all 3 of their spectacular EP release shows. And when they finally did emerge, taking the stage in an old stomping ground they had trawled in previous years as they were developing as a 4-piece, the karaoke night that was taking place downstairs was surely aware. From the moment they first dug into Age of Innocence all the way through to their usual closer Medicine, a room wide moshpit engulfed all those lucky enough to be in the room to experience it. With gig-goers and devoted fans of the band in unison belting back lyrics to the tracks; even those yet to be released. Surely a night to be remembered by the Tooth boys and fans alike, the Restless in Bloom release gigs had reached a saddening conclusion, with the 80 or so people that had been at the final show at The Blue Post freed to explore what else Friday night in Soho had to offer.
But as for Tooth, the celebrations were only just beginning. As for the next few weeks following
Upstairs photobooth the release of Restless in Bloom, the band would commence a nationwide takeover of the UK with their first headline tour, with the brilliant Martial Arts and explosive Kissing on Camera supporting at alternating dates. Starting in Club Ifor Bach in Cardiff and hopping from signature Scottish venues (The Garage, Sneaky Pete's) and back down to Sheffield's Hallamshire Hotel, Manchester's famous YES Basement, and Liverpool's Heebie Jeebie's. Before concluding an eclectic run of shows in a heatwave finale down further south at Birmingham's Dead Wax and Southampton's Heartbreakers. The guys are set for a series of brilliant shows, if their current reputation persists, with multiple festival lineunclusions and a pair of support slots with American alternative rock legends; Sunny Day Real Estate, a named inspiration to Tooth's own creative directions. Be sure to try and catch these guys now, because who knows how far they will have climbed the musical hierarchy by this time next year.
Restless in Bloom is out now
TOOTH Takeover
EP LAUNCH PARTY
Crystal Palace Park
Crystal Palace Park
SUMMER RELEASES: THE FIGHT FOR THE SONG OF THE SUMMER Written by Freya Kelly
As June comes to an end, and a ridiculous heatwave settles across the UK, the rise of summertime music brings an array of amazing new releases - creating a perfect soundtrack for life in the baking heat, and long, sunny afternoons with a speaker and a pint in a suntrap of a beer garden.
The beginning of June saw the return of noughties, gothic-rock band, 'Evanescence', with the release of their sixth studio album 'Sanctuary' (June 5th 2026). The 12-track record, described by lead singer Amy Lee as 'a quest for humanity', has been received well by critics, and masterfully allows the band to reform their angsty sound into a fresher and more electronic feel, appealing to a larger audience of the new broken scene and nostalgic emos willing to relive their teenage years. Despite the praise that the album has received from the harshest alternative music reviewers, many fans have found the band's genre shift rather controversial, and the new electronic elements - developed by producers Nick Raskulinecz, Zakk Cervini and Jordan Fish (of Bring Me The Horizon fame) - have been described as 'distasteful' and 'disingenuous' by long-term fans of the group.
During the same week, the charts were greeted by the fresh release of Malcolm Todd's new album, 'Do That Again!' The long-awaited sophomore album was teased from November 2025 by the newly famous singer, and has been praised by Rolling Stone as portraying a 'modern homespun permutation' of 1980s greats, that seemingly 'anyone can relate to. However, much like Evanescence, the greatness of Todd's new album has been questioned by fans, with many claiming that it lacks the lyrical depth and drive of his first, self-titled album from 2025. Yet, its status as Todd's biggest career milestone cannot be ignored, with the album debuting at number five on the US Billboard 200 chart, and number nineteen on the UK Official Albums Chart, catapulting the LA native's deep take on indie- bedroom pop to new heights of fame.
As the month progressed, pop fans were relieved to experience the new-found emotional insight found in Olivia Rodrigo's third studio album, 'you seem pretty sad for a girl so in love' On 12th of June, the record debuted at number one on every UK album chart, and became an instant internet phenomenon as the song 'honeybee' began to trend on Tik Tok merely hours after its release. Young audiences saw the shift of the previously teenage-angst-driven popstar away from the pop-punk genre, and happily welcomed her transition to a more soft and ballad-like take on adult emotions; many respected her excitement and 'awe' following her collaboration with the godfather of melancholy, Robert Smith, on the track 'What's Wrong With Me!
But the fight for song of the summer is not won
world's most beloved popstars.
On the 3rd of July, the queen of pop, and timeless artist - Madonna - will be releasing her new album 'Confessions II', which she claims is a spiritual sequel to her 2005, electropop album: 'Confessions on a Dancefloor.' The album has already been pushed to a wide audience, as the best-selling female music artist of all time has released a 14-minute short-film, sharing the name of her upcoming record, which features various celebrities such as Kate Moss, Sabrina Carpenter, Gwendoline Christie and Richard E. Grant. Many anticipate this new album as the return of pure, disco-pop, exciting avid music lovers to the introduction of musical experimentation in the 2020s.
Following the success of her sixth studio album - 'brat' - Charli XCX is expected to burst back onto the music scene with her new LP, 'Music, Credits:
Madonna: Photo by Chris Weger, licensed under CC BY-SA 2.0, via Wikimedia Commons. Charli XCX: Photo by Tuomas Vitikainen, licensed under CC BY-SA 4.0, via Wikimedia Commons.
Olivia Rodrigo: Photo by Raph_PH, licensed under CC BY 4.0, via Wikimedia Commons. Ariana Grande: Photo by Melissa Rose, licensed under CC BY 2.0, via Wikimedia Commons.
Fashion, Film', on the 24th of July. The cover of the record has already received immense praise from fans and critics alike, as the grainy, black and white image ( photographed by Aidan Zamiri) features three pop-culture legends: John Cale, Marc Jacobs, and Martin Scorsese. The club-classic 'diva' has already broken the internet with the release of the darker, and seemingly satire single 'Rock Music', which has trended on TikTok since its release in May.
Yet, the newly-wed pop icon has not secured her place as 2026's most viral contribution to music, as in the height of her highly media-covered world tour, Ariana Grande plans to release her 8th studio album, 'Petal'. The release (set for the 31st of July) has been described as the epitome of 'growth' by the 'Wicked' star, and is seen as a 'feral' and 'bold' promise to her fans that her musical talents have not dwindled following her return to acting.
Music seems to be thriving in the summer of 2026, with the charts refreshing to accept new release after release. The hot weather brings freshness, and restores faith and hope in the development of music whilst tension grows to top social media's ever changing musical opinions
So, the question still stands.
Who will win the race for 'song of the summer'?
Summer Releases
TO DO THE BRU
Exn
Why is Nostalgia Dominating the Charts?
WHY IS NOSTALGIA DOMINATING THE CHARTS
If you've been on social media recently, you'll have probably heard that "2026 is the new 2016", we're seeing major comebacks of all things 2016 and 2010's. From the indie sleaze aesthetic, skinny scarves, marc jacobs beauty and the internet seems obsessed with reliving the past. But it's not just fashion, beauty and social media being dominated by nostalgic trends with a contemporary twist. It is also reshaping the music industry itself.
Over the last few years, nostalgia has been one of the most powerful forces in the music industry itself. Older songs are making a comeback, artists are drawing inspiration from older music styles and audiences are embracing songs that sound comfortingly familiar. Rather than searching for the next new thing, listeners seem increasingly interested in revisiting the music that defined earlier eras.
One of the clearest examples of this is the revival of 2010's culture. For many young adults, the mid 2010's represent a simpler period before the pandemic, economic uncertainty and the constant pressure of social media. As a result, music associated with that era has experienced renewed popularity online. songs that once soundtracked school discos, tumblr blogs and youtube are finding entirely new audiences through Tiktok edits and nostalgia focused- playlists.
However, nostalgia in music stretches even further back than the 2010s. Recently, artists have begun embracing the glossy, upbeat sounds of early 2000s pop music. The influence of acts such as Britney Spears, Kylie Minogue, and early dance-pop producers can be heard throughout contemporary releases.
Few artists have embodied this trend more successfully than Charli XCX. While often viewed as a forward-thinking pop innovator, much of her recent work draws upon the club culture, electronic sounds, and carefree energy associated with the late 1990s and early 2000s. Her music blends futuristic production with familiar pop formulas, creating something that feels both nostalgic and contemporary. Similarly, Zara Larsson's recent releases have embraced bright dance-pop production reminiscent of the early 2000s and early 2010s. In an era where much mainstream pop became slower and moodier, the return of upbeat
choruses, synthesisers, and unapologetically fun pop music feels like a deliberate reaction against recent musical trends.
This revival is not happening by accident. Social media platforms, particularly TikTok, have transformed nostalgia into a powerful commercial tool. A song released twenty years ago can suddenly become relevant again through a viral dance trend, fan edit, or television soundtrack. Music is no longer confined to its original cultural moment. Instead, songs constantly move between generations, allowing younger audiences to experience music from periods they never lived through.
The resurgence of older songs on the charts demonstrates this perfectly. Tracks that once seemed destined to remain cultural artefacts are now being rediscovered and streamed millions of times by Gen Z listeners. Rather than viewing music chronologically, streaming platforms and social media encourage listeners to consume songs from multiple decades simultaneously. There is also a psychological appeal to nostalgia. During periods of uncertainty, people often seek comfort in familiar cultural products.
Nostalgic music can provide a sense of stability and connection, reminding listeners of positive memories or imagined versions of the past. Even for younger audiences who did not experience the early 2000s or 2010s firsthand, these eras are often romanticised online as more authentic, carefree, and exciting than the present. Critics argue that this obsession with nostalgia may be limiting creativity. If artists and record labels continue recycling familiar sounds, there is a risk that popular music could become stuck looking backwards rather than pushing forwards. Yet others suggest that nostalgia has always been part of music. Every generation borrows from those that came before it, reinterpreting older influences for new audiences.
Perhaps the real story is not that music has run out of ideas, but that listeners are finding new ways to connect with the past. Whether it is the return of 2010s culture, the revival of early 2000s dance-pop, or TikTok's declaration that "2026 is the new 2016," nostalgia has become more than a trend. It is one of the defining forces shaping contemporary music-and it shows no signs of slowing down.
Amy Winehouse: The Soul That Lives On AMY WINEHOUSE: THE SOUL THAT LIVES ON Written By Holly Carter
Amy Winehouse is one of the most iconic singers of her generation, that is without a doubt a fact. From her iconic beehive to her 1950s/60s rockabilly fashion style, she swooped into the music scene within the early 2000s, showcasing her talent and fashion with her debut album "Frank".
23 years on from her first release, she holds 22.2m monthly listeners on her Spotify. Whilst that will never compare to the levels of fame she had, it is clear that her success will live on through generations to come. But what is it about her music that so many resonate with, spanning over two decades since her first album. The Lyrics. Each of her songs are perfectly written to her life and struggles that many others can relate to including heartbreak. Young people find comfort in listening to music that they can relate to, finding an escape.
As well as this, many fans loved Amy Winehouse' desire to stay grounded to her roots and where she was from. The statue of her within Camden Market, feels like a true symbol of what the city means for so many people, and that is that no matter what or where you came from, that hard work can get you incredibly far just like she did.
At the Brit Awards earlier this year, producer Mark Ronson was awarded the Outstanding Contribution to Music Award, in which he performed a number of his most successful songs. Included within this list was a section dedicated to Amy Winehouse, warming the hearts of thousands of viewers across the UK, 15 years after her death. His dedication to her work showed just how much his career was changed through their collaboration on songs like "Valerie", "Back To Black", "Rehab", "You Know I'm No Good", "Love Is A Losing Game", "Wake Up Alone", "He Can Only Hold Her."
Singers today, such as RAYE and Lola Young are compared to embodying the same old soul and projection in their music to Amy Winehouse. Whilst flattered, she is always respected higher than themselves. One user on Instagram commented on a reel of RAYE stating, "I won't lie, I began listening to her music because she reminded me of Amy, who I adored SO much. But she has this incredible operatic quality that's uniquely her. Two incredible talents."
In other ways of her music living on, is through tribute acts. Whilst there can be some okay tribute acts out there, my spotlight draws to "Absolute Amy." With over 100,000 followers on Tik Tok, the singer Holly Cosgrove has made an incredible name for herself in the world of tributes, in fact many pinning her to be one of the absolute best. From the voice down to her signature beehive, Cosgrove has got it spot on. In her TikTok bio, she
Amy Winehouse: The Soul That Lives On The Soul That Lives
On clearly states "I'M NOT AMY WINEHOUSE, I'm the UKs authentic Tribute Artist, absolute Amy." For fans that never got to see Amy Winehouse perform, a truly authentic performance that is taken with such care and compassion, carries on her legacy to further generations. Absolute Amy continues their UK tour this year, with dates in major cities such as Birmingham, London and Liverpool. Whether it is from a tribute act, you tap your foot when you hear Valerie in a supermarket, you are a mega fan, or love the new artists on the block with similar sounds to herself, Amy Winehouse's voice will live on for generations to come, and will always be loved by fans across the world.
COSTUME CULTURE
Dressing up is a fantasy game we play as children but the feeling and joy that we get from playing dress up carries us into adolescence and adulthood, dressing up for concerts has -especially in recent years- become a part of the whole experience, particularly for large tours and productions. Large tours almost come with their own dresscodes and fan-established outfits, themes and accessories.Taylor Swift's Eras Tour in 2024 sparked trends of friendship bracelet trading and collecting throughout cities managing to connected fans who had traveled from a wide span of places through being able to collect and swap handmade beaded bracelets with lyrics,albums and references on, but dressing up for concerts has only really become a thing in the past 10 years.Yes, people have always worn fun and elaborate outfits for concerts/gigs people have always planned outfits and dressed up wearing merchandise or tour tshirts, but the views of dressing as a generic nice dress event has shifted into dressing for / like the artist, or in costume and actual fancy dress.
Tours come with staple accessories and key pieces that fans collectively wear; Harry Styles' Love On Tour meant feather boas of all kinds, Beyonce's Cowboy Carter Tour cowboy hat trend, Oasis' reunion tour meant their old trend of bucket hats was resurfaced, The Eras Tour friendship bracelets, Pitbull concerts and bald caps or more recently Olivia Dean's The Art Of Loving Tour and polka dots Global tours and their fan dress codes dont stop at accessories however, in major cities its clear when tours are in town as when walking to,from or nearby a venue its obvious who is headed to the concert, Fans are easily spotted outside in their distinctive outfits and glam. Even smaller tours and local shows have managed to accumulate an overall style and theme between all fan outfits, styles of clothing seem to match up with music genres and stereotypical listeners of a certain genre fit into sub categories of general style, however there are always exceptions to this.The style isn't always made by artists alone, people tend to listen to the artist that aligns with their own style rather than change their style for an artist. Heavier rock music drives in more alternative styles and music by softer pop girls may drive in audiences wearing babydoll dresses and more feminine silhouettes. So style isn't exclusive to each and every individual artist but more so their genera and their own personal styles, yet for mainstream stadium tours they tend to develop their own subcategory of style and more so theming.
Concerts in the mid 2010s meant face gems, glitter eyeshadow basic skirts and trousers and artist tshirts, put together yet simple and easily attainable outfits that don't require weeks of planning ahead and extremely out there outfits. This spike in real elaborate outfits is partly social media's blame, obviously social media apps like twitter and instagram were incredibly popular
before the late 2010 spike in costumes however the rise in tiktok and short form immediate content has influxed this.Short for content is more frequently posted and reaches a wider audience, unlike instagram grid posts which are mainly posted a day or 2 after the event or instagram stories that reach a lower level audience.
Tiktok and their algorithm means people with an interest in specific artists who interact with content around them are shown more and more content about them creating a social media bubble of people all attending the shows making people able to communally talk and discuss their own outfits.This has influenced the trends around outfits and styles being mutually discussed as tiktok and their algorithm acting as a worldwide group chat for outfit planning.
Credits:
Taylor Swift: Photo by iHeartRadioCA, licensed under CC BY 3.0, via Wikimedia Commons
Harry Styles: Photo by Raph_PH, licensed under CC BY 2.0, via Wikimedia Commons
Beyoncé: Photo by Raph_PH, licensed under CC BY 2.0, via Wikimedia Commons.
Outfit planning becoming a large part of the experience of a tour is also influenced by the artists themselves who lean into the trends looking for best dressed attendees and recognising peoples outfits themed around their own art.The thought of planning and scheming outfits together forms a sense of community around the tour bringing fans closer together and inherently creating a buzz around the tour and building anticipation for fans.
Costume culture
ROB SINCLAIR MELODRAMA COACHE TIM MITCHELL NTONY TIM ROUTLEDGE FORMATION
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