Daniel Seavey

Daniel Seavey (Press)

Released via Atlantic Records alongside a striking new music video directed by Matty Peacock, Love’s A Gun finds Seavey leaning into both his songwriting vulnerability and his increasingly impressive studio craftsmanship. Written during a trip to Stockholm with producers VERA and Søren Breum before being completed at Seavey’s Los Angeles studio, the track showcases the artist’s hands-on approach, with Seavey producing the song himself and performing every instrument heard on the recording.

The result is a vibrant and cinematic slice of modern pop that balances euphoric melodies with emotional weight. Drawing inspiration from classic pop storytelling and expansive production styles, Love’s A Gun captures the intoxicating pull of a relationship that feels impossible to resist, even when the warning signs are impossible to ignore.

Daniel Seavey

Daniel Seavey (Press)

“Love’s A Gun is a song about me admitting I saw the damage coming and still walked straight into it,” Seavey explains. “It’s about me choosing them over myself, even knowing it would leave me empty. I wanted the music to feel beautiful and dangerous at the same time since that’s exactly what this kind of love feels like.”

That tension between attraction and self-destruction lies at the heart of the track, which layers shimmering hooks and lush instrumentation over a lyrical narrative of heartbreak, acceptance and self-reflection. It is another example of Seavey’s ability to transform deeply personal experiences into universally relatable pop moments.

The single follows the recent release of Time To Time (Annie), with both songs quickly becoming fan favourites after debuting live during Seavey’s support slot on Charlie Puth’s Whatever’s Clever! North American arena tour. The run sees him performing in some of the biggest venues of his solo career, including New York’s legendary Madison Square Garden.

Those performances continue the momentum generated by Seavey’s acclaimed Second Wind era. Released in 2025, his debut solo album established him as a fully realised artist in his own right, showcasing a blend of polished pop songwriting, intricate production and honest storytelling. The accompanying Second Wind Tour sold out venues across North America before expanding into Europe, Australia and New Zealand, further demonstrating his growing international appeal.

A key feature of Seavey’s live performances has been his innovative use of loop pedals and live instrumentation, allowing audiences to witness the creative process behind the songs in real time. That musicianship has become a defining element of his solo identity and separates him from many of his pop contemporaries.

Before launching his solo career, Seavey rose to global prominence as a founding member of Why Don’t We, helping the group amass billions of streams, multiple Platinum-certified singles and sold-out tours worldwide. Since stepping out on his own, however, he has steadily crafted a distinct artistic voice built around authenticity, musical versatility and creative independence.

Daniel Seavey

Daniel Seavey (Press)

With nearly 300 million solo streams to date and an audience of almost six million followers across social media, Seavey enters this next phase of his career with growing confidence and momentum. If Love’s A Gun is any indication, his forthcoming sophomore album era could prove to be his biggest and boldest yet.

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Labrinth

Labrinth (Press)

The 12-track collection builds upon the foundations laid by Cosmic Opera Act I, which arrived earlier this year, expanding the project’s emotional depth and sonic ambition into even more daring territory. The result is a record that seamlessly blends orchestral grandeur, contemporary pop, electronic experimentation and cinematic storytelling into a singular artistic statement.

Long celebrated for his ability to transcend genre conventions, Labrinth once again refuses to be confined by expectations. Across Cosmic Opera Act II, sweeping symphonic arrangements collide with electronic textures, gospel influences and modern pop songwriting, creating a listening experience that feels both intimate and epic in scale.

One of the album’s standout moments arrives in the form of The Living, a track that perfectly encapsulates the record’s dynamic approach. Beginning with guitar-driven verses before exploding into a soaring, anthem-sized chorus, the song combines operatic flourishes and EDM-inspired production with sharp social commentary. Its lyrics challenge transactional relationships and systems built around exploitation, themes that resonate throughout the album’s broader narrative.

Elsewhere, opening track Anointed Reprobate establishes an atmosphere of theatrical intensity, while Prostitute pairs haunting vocals with expansive orchestral arrangements and compelling lyrical introspection. Bouncy Castle & Trampolines balances playful musicality against reflections on the complexities of modern life, and Very Good Boy delivers one of the album’s most emotionally affecting moments, juxtaposing vulnerable lyrics with rich brass instrumentation and delicate sonic flourishes.

While Cosmic Opera Act II stands confidently on its own, it also forms part of a larger artistic vision. Together with January’s Cosmic Opera Act I, the two records create an interconnected body of work that explores identity, faith, humanity, power and personal transformation through a uniquely cinematic lens.

That cinematic quality has become synonymous with Labrinth’s creative output. Beyond his acclaimed solo career, the artist has earned global recognition as an Emmy® Award-winning composer and GRAMMY®-nominated songwriter, most notably through his work on HBO’s groundbreaking drama Euphoria. His atmospheric compositions became an integral part of the series’ emotional landscape, helping shape some of its most memorable and impactful moments.

The same emotional intelligence that defined that work is woven throughout Cosmic Opera Act II. Whether exploring vulnerability, social unrest, hope or spiritual awakening, Labrinth approaches every song with a fearless commitment to honesty and artistic experimentation.

Since first emerging as one of Britain’s most exciting musical talents, Labrinth has continually evolved, refusing to settle into predictable creative territory. From chart-topping collaborations and solo hits to film scores and television soundtracks, his career has been characterised by innovation and reinvention. Cosmic Opera Act II continues that trajectory, presenting an artist operating at the height of his creative powers and unafraid to challenge listeners along the way.

With Cosmic Opera Act II, Labrinth delivers another immersive and thought-provoking chapter in an already remarkable catalogue, proving once again that few contemporary artists are capable of blending emotion, ambition and musical craftsmanship on such a grand scale.

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Ferris & Sylvester

Ferris & Sylvester (Daniel Alexander Harris)

Known for seamlessly weaving together folk, blues, soul and Americana influences, husband-and-wife duo Issy Ferris and Archie Sylvester have built a reputation as one of the UK’s most compelling songwriting partnerships. With previous accolades including a UK Official Jazz & Blues Albums Chart No.1 and an Americana UK Album of the Year award, the pair now return with one of their most energetic and visceral tracks to date.

Driven by stomping blues riffs, garage-rock swagger and an unmistakable sense of urgency, 5-4-3-2-1 channels frustration into something cathartic and exhilarating. Issy Ferris delivers a commanding vocal performance as she inhabits the role of a woman caught in an unequal power dynamic during a tense phone call with a faceless corporate executive, transforming anger into empowerment through sheer force of personality.

Speaking about the track, Ferris explains that the song emerged during the final stages of writing the new album when the pair felt compelled to inject a rawer edge into the record’s predominantly hopeful themes.

“This album is a celebration of joy, and the art of finding it where you least expect it,” she says. “This song is about a time where joy was hard to find. When life, or a situation, or in our case a bad phone call can tip you right over the edge. It felt important to write it, to get the anger and frustration out somehow, and turn it into something fun.”

The track joins previously released singles It’s A Joy To Be Alive and Fishing Song in teasing what promises to be the duo’s most personal and emotionally resonant collection yet. Across its 11 tracks, the album explores resilience, hope and gratitude, inspired by the life-changing experiences Ferris and Sylvester faced following the premature birth of their son during a trip to Nashville in 2022.

Thousands of miles from home and facing an uncertain future for both mother and child, the experience reshaped the couple’s outlook on life and ultimately became a major creative catalyst. Rather than dwelling solely on hardship, however, the album seeks to celebrate the moments of light that emerge from even the darkest situations.

“Writing an album all about joy is one thing, but writing it from a place of struggle is something else altogether,” says Archie Sylvester. “When there is joy, life is glorious. And when there is an absence of it, there is always hope. And it’s hope that keeps us living.”

That sense of hard-earned optimism runs throughout It’s A Joy To Be Alive, a record that finds Ferris & Sylvester embracing vulnerability while expanding upon the rich musical foundations established on previous albums Superhuman and Otherness.

Since first meeting a decade ago at London’s now-legendary blues venue Spiritual Bar, the pair have evolved from rising grassroots artists into internationally respected performers, sharing stages with musical heroes including Robert Plant while building a devoted fanbase through relentless touring and deeply personal songwriting.

Away from music, they have also become passionate advocates for causes close to their hearts, supporting premature birth charity Tommy’s and recently taking on roles as patrons of the Music Venue Trust. Alongside raising two young children, they are also developing a new studio and label hub in the West Country, continuing to invest in the future of independent music.

With 5-4-3-2-1, Ferris & Sylvester prove that some of the most powerful songs are born from life’s most difficult moments, transforming frustration, adversity and uncertainty into something uplifting, unifying and ultimately joyful.

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Kind Villain

Kind Villain (Press)

The new track follows the release of I’m A Little Off, a song that explored themes of neurodiversity and self-acceptance, and further establishes Kind Villain as an artist unafraid to tackle contemporary issues through emotionally charged songwriting and genre-blurring production.

Built on a foundation of infectious pop melodies and explosive rock energy, Bedroom Genius expands Kind Villain’s sonic palette even further. Pop-punk guitar hooks collide with post-hardcore screams and shimmering alt-pop synth textures, creating a dynamic and unpredictable sound that mirrors the song’s central theme: the relentless pursuit of a dream in an age dominated by social media comparison.

Lyrically, the track taps into a familiar frustration for aspiring creatives. It explores the tension between believing in your own potential and battling the self-doubt that inevitably creeps in when success seems perpetually just out of reach. The result is an anthem for anyone striving to break through, whether in music, art, business or life itself.

“For me, Bedroom Genius is a song that captures the highs and lows of chasing a dream in modern society,” explains Kind Villain, whose real name is Ev Frederick. “You’re always comparing yourself to an influencer and not to yourself and where you were yesterday, and that causes destructive thinking. There are moments where you feel like you can take on the world and moments where you feel the world has defeated you.”

The single was co-written with multi-platinum producer Paul Trust, who helped shape the song’s dramatic shifts in tone and intensity. Together, the pair sought to reflect the experience of young artists navigating a music industry that often feels more like a maze than a clear career path.

That perspective comes from experience. Frederick began performing while still in his early teens, famously sneaking into a Tampa rock bar where local musicians quickly recognised his talent and invited him onstage to sing. Those formative experiences helped lay the foundations for Kind Villain, a project inspired by an eclectic mix of influences including Linkin Park, Green Day, Panic! At The Disco, Yungblud, Joan Jett, Prince and Taylor Swift.

While still in the early stages of his career, Kind Villain has already earned significant recognition in his hometown, collecting awards for Best Vocalist and Best Song at Tampa’s Best of the Bay Awards, alongside multiple Best Concert nominations. His ambitions, however, extend far beyond Florida. Dream collaborations with bands such as Paramore and All Time Low sit alongside aspirations of one day headlining festivals including Glastonbury and Coachella.

With Bedroom Genius, Kind Villain continues to build a compelling case as one of the new generation’s most exciting emerging voices, combining raw honesty, big hooks and modern rock ambition into a sound that feels both timely and authentic.

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Set for release on 18th September via V2 Records, the self-titled record arrives alongside the band’s explosive new single THE FIRE, a confrontational and politically charged track that leans into the anxiety, misinformation and societal unrest that have long shaped the group’s creative identity.

De Staat

De Staat (Kees De Klein)

The new material follows April’s comeback single THE KING, which first hinted at the band’s return. Now, with THE FIRE, frontman Torre Florim pushes even further into themes of complacency and modern disconnection, delivering razor-sharp lyrics over propulsive rhythms and tense, industrial grooves.

Lyrically, the track examines the growing tendency to observe global catastrophe from a distance without meaningful action. Its biting refrain — “It’s only burning overseas” — captures the numbness of modern digital culture, where tragedy often feels confined to screens rather than reality.

Florim explains that the album’s title carries a significance that has evolved over the band’s 25-year career. While De Staat have consistently explored ideas surrounding power structures, manipulation and belief systems, the current political climate has made those themes feel more immediate than ever. According to Florim, the band now sees their name almost as a prophecy of where their artistic journey was always heading.

Musically, THE FIRE continues the fearless experimentation that has made De Staat one of Europe’s most respected alternative acts. The band’s ability to fuse jagged art-rock, electronic textures, heavy grooves and infectious hooks has earned them a reputation as one of the continent’s most unpredictable live bands.

To accompany the album release, the group are also launching an ambitious multimedia performance project titled De Staat Becomes De Staat. The conceptual live experience has been developed alongside a team of celebrated visual artists, directors and designers, promising an immersive and dystopian theatrical production that expands on the album’s themes of power and societal fracture.

Across the years, De Staat have built an international cult following through explosive festival appearances at events including Glastonbury Festival, SXSW and Sziget Festival, while also touring with major artists including The Rolling Stones, Muse and Biffy Clyro.

With DE STAAT (THE STATE), the band appear poised to channel that same restless energy into what could become one of their most urgent and politically resonant records to date.

Upcoming UK Live Dates:

NOVEMBER
9th – Thekla, Bristol
10th – Band On The Wall, Manchester
11th – The Grand Social, Dublin
13th – King Tut’s Wah Wah Hut, Glasgow
14th – Rescue Rooms, Nottingham
15th – Scala, London

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