If You Don’t Know, Get to Know! - SLAG

If You Don’t Know, Get to Know! is our weekly dive into the best rising acts you’ll want to discover before the rest of the world does. This week, we’re looking at Brighton band SLAG.

Brighton’s newest noisemakers SLAG are the kind of band you hear once and immediately want to tell your mates about – partly because you know they’re bound to break through soon, and you’ll look effortlessly ahead of the curve when they do. Their sound sits somewhere between math-rock, shoegaze and indie rock, bursting with noise, attitude and potential.

Fronted by Amelie Gibson, SLAG make music that thrives on tension. Their songs twist and turn in unexpected directions, packed with guitar lines that jolt against the grain and vocals that jump between the calm and the storm itself. There’s a sense that each track could fall apart at any moment, yet it never does. The term controlled chaos has rarely felt more fitting.

Singles Ripped and Heaven show the band’s knack for balance, layering restless energy with a melodic touch beneath all the grit. The hooks sneak up on you, the rhythms pull in every direction, and by the time you think you’ve figured them out, they’ve already moved on. The bands newest release Legs gets off the mark with Gibson’s rapid-fire vocals before she pleads, “Please wake up, I love you, I love you,” as the noise fades. It’s a flash of sincerity before the track kicks right back into motion, ending in an outro that begs to be shouted back in a packed, sweaty room.

For now, SLAG remain one of Brighton’s best-kept secrets, but probably not for long. Their music is raw, loud and full of potential: the sound of a band too interesting to stay underground for much longer.

Watch SLAG perform Heaven and Ripped on The Beach House Sessions

From The Pyre - The Last Dinner Party Review

The past couple of years have been a whirlwind for baroque pop breakthrough The Last Dinner Party. We’ve seen them go from London’s Windmill scene to a Mercury Prize nomination and a Number 1 album with Prelude to Ecstasy. Now, just over a year later, they rise from the flames with From the Pyre, a record that trades divine grandeur for something more grounded and cathartic.

If their debut was the coronation, From the Pyre is the sound of what comes after the crown is placed. The band still lean into their dramatic side, but there is a new sense of grit and self-awareness in their sound. Produced by Markus Dravs, known for his work with Florence and the Machine and Arcade Fire, the album builds on the ornate baroque pop of their debut, expanding it with rich textures and a sharp emotional focus.

The lead single This is the Killer Speaking opens with power and intent. It is theatrical yet unfiltered, driven by pulsing percussion and Abigail Morris’s commanding vocals. The Scythe continues this energy, mixing poetic fatalism and strong rhythm to create a track that encapsulates The Last Dinner Party at their best, a definite highlight on this record. Second Best captures their flair for melodrama and emotional sincerity, while Rifle stands out as one of the record’s most atmospheric moments. The closing track Inferno lives up to its name, finishing the album in a swirl of heat and release, a final burst of grandeur before it fades to ash.

Dravs’s production keeps everything slick and expressive, highlighting the band’s evolving musicianship. The Last Dinner Party expand on the baroque pop world they built on their debut, creating something confident and rich in detail. For a group once accused of being over-polished, this album feels alive and intentional. It may not excel in the same way as Prelude to Ecstasy, but it burns with conviction. From the Pyre proves that The Last Dinner Party have not only survived their own hype, they have reshaped it into something real and unique.

Watch The Last Dinner Party perform The Scythe Live From The Pyre

BBC Radio 1’s New Music Live 2025

BBC Radio 1’s New Music Live returned for another year this time at Cardiff’s Tramshed last night, for an evening to celebrate new and upcoming talent across the UK and Ireland. The lineup brought together a mixture of rising acts, each offering their own take on what the future of indie and alternative music has in store for us. 

Leicester’s Jools opened the night with a storm of intensity, instantly setting the tone for what was to come. The post-punk outfit managed to create an impeccable atmosphere, jagged guitar riffs cut through the room as both vocalists delivered powerful, passionate performances. What stood out most was the tightness among the band, every member locked in with one another as well as the crowd. The chemistry and energy on stage were undeniable, each song coming across with urgency and conviction makes Jools a formidable live force. They are a live band you simply cannot ignore.

London-based Keo brought a cool shift in pace after Jools explosive opener. There was an effortless calm to the chaos that they bought on stage, the kind that comes from complete confidence in what they do. Comparisons to Wunderhorse have followed Keo since their emergence, and they seem perfectly aware of it. The words ‘Rip Off’ were displayed on front man Finn Keoghs guitar, perhaps a playful nod towards these accusations. It summed up their performance perfectly: cool, confident and defiant.

Hometown heroes Panic Shack took to the stage, immediately turning Tramshed into their playground. With the release of their self-titled debut album this summer, the band provided punk ferocity and tongue in check humour. Every song hit with intent, but the way that they commanded the crowd was what truly set them apart, cementing them as one of Wales most beloved live acts.

Closing the night were Florence Road, an indie pop four-piece from Wicklow, Ireland who have been steadily gaining attention across the country as well as globally. The band who blew up from posting on TikTok and signed to Warner Chappel Music less than a year ago, brought a cinematic sweep to Cardiff, filling Tramshed with soaring guitars and heartfelt vocals delivered with precise emotional control. Fresh from supporting Oliva Rodrigo at BST Hyde Park, Florence Road stood out amongst an already stellar lineup. As the final notes rang out, it was clear that Florence Road are on the verge of something huge.

BBC Radio 1’s New Music Live proved why it is one of the most exciting showcases for emerging talent coming out of the UK and Ireland. From Jool’s post-punk ferocity to Keo’s formidable cool, Panic Shack’s homegrown chaos and Florence Road’s cinematic polish, the night served as a reminder of just how strong the next wave of artists merging from this scene are. If this lineup is anything to go by, the future of indie and alternative music is in very good hands.

Florence Road performing at BBC Radio 1 Live 2025

Cheltenham Jazz Festival 2026

In April and May 2026, I volunteered at the Cheltenham Jazz Festival across multiple days, gaining hands-on experience working within a large-scale live music festival environment.

Throughout the festival I worked across front-of-house, ticketing and audience management roles at a range of venues and performances. My responsibilities included assisting attendees, managing queues, checking tickets and supporting the smooth running of events during busy performance schedules.

Working across long shifts in a fast-paced public-facing environment helped me further develop my communication, teamwork and problem-solving skills while maintaining professionalism under pressure. The role also gave me valuable experience interacting with audiences and working collaboratively alongside festival staff and volunteers to ensure events ran efficiently.

The experience provided a strong insight into the operational side of live events and reinforced my interest in working within the music and festival industries. Being part of a nationally recognised festival also allowed me to observe how large cultural events are coordinated across multiple venues, teams and audiences.

Volunteering at Cheltenham Jazz Festival strengthened both my confidence and understanding of live event management, while also demonstrating the importance of organisation, adaptability and audience experience within the music industry.

Skills Developed:

• Front of House Operations

• Ticketing & Audience Management

• Customer Service

• Communication & Teamwork

• Problem Solving

• Time Management

• Working Within Live Event Environments

Bastille UK Arena Tour Experience

In November 2025, I had the opportunity to gain behind-the-scenes experience working on production rehearsals and show day operations for Bastille during their UK arena tour.

My experience began at production rehearsals in Bedford, where I observed and assisted within a professional live production environment across a full rehearsal day. This provided valuable insight into the planning and coordination involved in preparing a large-scale touring production, including stage setup, scheduling and backstage communication between production teams.

I later worked on show day operations in Cardiff, contributing to the fast-paced environment of a live arena show from early morning load-in through to the completion of the event. Working within this environment allowed me to experience the pressures and professionalism required in large-scale live music production while developing my communication, adaptability and teamwork skills.

This experience strengthened my understanding of how touring productions operate behind the scenes and reinforced my interest in pursuing a career within the live music and events industry. Observing the collaboration between technical crews, production staff and artists gave me valuable insight into the scale of organisation required to deliver major live performances successfully.

Skills Developed:

• Live Event Operations

• Teamwork & Communication

• Adaptability Under Pressure

• Backstage & Production Workflow Awareness

• Time Management

• Professional Conduct Within Live Music Environments