Rosa Walton, best known as one half of the visionary duo Let’s Eat Grandma, releases her debut solo album Tell Me It’s A Dream today via Transgressive, marking a defining moment in her evolution as an artist. It’s a record that critics are already embracing with open arms: Dork hails it as “a debut by an artist who has decided that her solo work is worth doing on its own terms”, while MOJO, The Line Of Best Fit, Uncut and The Morning Star all praise its shimmering emotional depth and Walton’s instinctive grasp of mood, melody and vulnerability.

DMA’S are back in full flight with ‘Hurracane’, a soaring, emotionally charged new single that lands as the latest preview of their forthcoming self‑titled album, now available to pre‑order. It’s the band at their most widescreen: guitar‑led, anthemic, and built around a chorus that sticks from the first hit.

Kanya King CBE, the unstoppable force who founded the MOBO Awards and changed the course of British music, has passed away at the age of 59 after a courageous battle with colon cancer. She died peacefully on 3 June 2026, surrounded by family and love.

Die Twice don’t release singles so much as they open portals, and with ‘Jalapeño’, the lead track from their new EP Accept Me Like A Lie, the Brighton‑based four‑piece pull you straight into the delirium. It’s a song that smoulders, snaps and finally erupts, and its accompanying video only deepens the spell.

Wychwood Festival has always traded on its charm, that gentle blend of family‑friendly ease and quietly impressive bookings, but 2026 felt different the moment you stepped onto Cheltenham Racecourse. With the horses long gone and the May sun bouncing off a sea of tents and fluttering flags, the place had transformed into a self‑contained world of colour, noise and good‑natured chaos. You could feel it in the air: this was going to be a big one.

Behold, a new-minted summer jam – tart like a spritz, fresh as strawberries.

Famous Strangers are a band built on instinct, chemistry, and the kind of shared musical obsession that starts in childhood bedrooms and jam rooms and never really lets go. Formed by four musicians who once felt like “famous strangers” to one another, the Edmonton heavy‑rock outfit have quickly carved out a sound that’s raw, dynamic, and emotionally charged — a blend shaped by lived experience, classic influences, and a creative process that hits like a sudden wave. With their latest release LSC pushing them into sharper, heavier, and more ambitious territory, the band step into 2025 with momentum, purpose, and a fire that shows no signs of slowing.

Los Angeles–based duo DiipSilence & Brianna Young are carving out a space where electronic experimentation, contemporary poetry, and fine art collide. Their latest release, Unus Mundus, is a deeply conceptual exploration of duality—drawing on Carl Jung, Chinese cosmology, and the fluid boundary between dream and reality. What began as an exchange of instrumentals and poems has evolved into a fully realised art‑pop collaboration, rich with tactile sound design, modular‑warped vocals, and philosophical intent. As they step into their first official release as a duo, they’re setting the foundation for a body of work that promises to push even further into the surreal, the psychological, and the sonically unexpected.

Little King’s latest chapter begins not with a riff, but with a revelation. In this candid conversation, Ryan Rosoff — the band’s ever‑restless singer, guitarist, and creative engine — pulls back the curtain on Lente Viviente, a record shaped by family, memory, grit, and the shifting lenses through which he sees the world. Fresh from selling a business, founding another, and rebuilding Little King’s core lineup, Rosoff speaks with the clarity of someone who has lived a few lifetimes’ worth of stories and is finally free to turn them into art. What follows is a portrait of a musician embracing change, sharpening his craft, and chasing the kind of truth that only comes from decades of doing the work.

The Purple Helmets return with a renewed spark and a lifetime of stories, led here by vocalist‑guitarist Jon Kini, who reflects on the band’s unlikely origins, their evolution, and the creative fire behind their new album Weirdo Squad. Born from a tongue‑in‑cheek high‑school joke that somehow stuck, the band grew into a beloved force across Nova Scotia’s indie scene before life pulled its members into the world of “real jobs.” Now, older, sharper, and writing with a deeper sense of purpose, the trio have crafted a record shaped by three distinct voices, rich harmonies, and a matured perspective on the chaos, pressures, and beauty of modern life. With fresh energy, a new label home, and a desire to simply make great songs that endure, The Purple Helmets are stepping confidently into their next chapter.

Venice Revive is the deeply personal solo project of Omer Cohen, born from a moment of global stillness and a desire to see the world — and himself — heal. Named after the surreal sight of dolphins returning to Venice’s empty canals during lockdown, the project blends Cohen’s vegan ethos, emotional honesty, and a drive to translate real-life experiences into powerful, modern metal. His latest release is shaped by the loss of his father, channelling grief, reflection, and resilience into a symphonic, evolving sound crafted alongside producer Yam Levi. With new singles and a full-length album on the horizon, Venice Revive is a project pushing forward with purpose and heart.

Anders L. Rasmussen is an artist who has spent years carving out his own lane, balancing the realities of working life with an unwavering pull toward songwriting that began in his early teens. After a long stretch in hard‑rock territory, his latest material marks a deliberate change of pace — a more reflective, hopeful body of work shaped by a desire to explore human struggle without losing sight of the light that cuts through it. Self‑produced, unhurried, and deeply personal, these new songs reveal an artist widening his creative lens and embracing a gentler, more emotionally open sound as he looks ahead to a run of singles and a full album later this year.

Violet Grohl’s debut album Be Sweet To Me arrives with the kind of confidence, personality and sonic identity that many artists spend years trying to locate. What’s immediately clear is that Violet isn’t trading on anyone else’s legacy — she’s building her own. Across eleven sharp, tightly‑written tracks, she proves herself a songwriter with instinct, imagination and a real command of alternative rock’s emotional and textural palette.

More than four decades after they first rewired the sound of the North West, Inspiral Carpets are stepping back into the light with Burn Like The Sun, their first studio album in 12 years, arriving 29 January 2027 via Scruff of the Neck Records. It’s a record shaped not by nostalgia, but by survival, renewal and the stubborn creative spark that’s kept the band moving through triumph, tragedy and cultural shifts that would have flattened lesser groups.

Monkey Intrusion are a band who wear their story with the same unruly charm as their name — a name born from a hotel warning sign in Singapore and now proudly attached to a rock outfit blending prog‑metal muscle, classic‑rock heritage and a wild, free‑spirited creative streak. Speaking with singer‑guitarist Vincenzo Reina, it’s clear this is a group fuelled by craft, camaraderie and a shared hunger to push their sound further, whether they’re sculpting the sprawling, seven‑minute drama of Bad Love or tightening their live chemistry with every show. With new music in the works and a full album on the horizon, Monkey Intrusion are stepping confidently into their next chapter — and they’re bringing plenty of bite with them.

Few bands in British music occupy a space as singular, or as quietly influential, as The Durutti Column. For nearly five decades, Vini Reilly’s project has existed slightly out of time: pastoral when the world was abrasive, intimate when the world was loud, and defiantly emotional in an era that often prized detachment. Now, after more than 15 years away from the studio, The Durutti Column return with Renascent, a new album that feels less like a comeback and more like a gentle, glowing re‑emergence.

Twin Atlantic return with a renewed sense of purpose on their brand‑new single ‘Don’t Quit It’, a widescreen alt‑pop anthem that marks the beginning of their new partnership with independent label Dance To The Radio. It’s a track that feels instantly alive, bold, melodic and bursting with the kind of energy that has long defined the Scottish band’s most triumphant moments.

Luna Rosa don’t return, they ascend and with their new single ‘Lift Me Up’, landing 12 June, the Corby quartet deliver their most widescreen, heart‑swelling moment yet.

At Lightroom, King’s Cross, six photographers who helped define David Bowie’s visual mythology reunited to tell the stories behind the images that shaped a generation. What unfolded was part masterclass, part confession, and part séance — a rare night where the people behind the lens finally stepped into the light.

Becky Hill has never been one to play it safe. Across a decade of chart domination, festival takeovers and club‑floor anthems, she’s carved out a lane entirely her own, equal parts underground credibility and mainstream firepower. But her third album, ‘REBECCA’, landing September 25th via Polydor, feels like the moment she stops running at the pace the industry demands and starts moving at the pace she chooses.