One of the crown jewels in the European festival circuit, Mad Cool continues to boast gigantic headliners, from Dua Lipa through to rock royalty The Killers. However, it’s also a festival that champions the next generation of rising stars, bringing the buzziest new names from all around the globe to Madrid. With 65,000 punters set […]
One of the crown jewels in the European festival circuit, Mad Cool continues to boast gigantic headliners, from Dua Lipa through to rock royalty The Killers. However, it’s also a festival that champions the next generation of rising stars, bringing the buzziest new names from all around the globe to Madrid.
With 65,000 punters set to attend this July, Mad Cool marks a real chance for new artists to seize their moment in the sunshine. Last year, former NME Cover stars HotWax showcased their confident live show with a packed out set on the Mahou Cinco stage, whilst Cardiff alt-rockers Himalayas – who support Foo Fighters this summer – brought raw energy to their raucous set. In previous years, the likes of Alfie Templeman, Sofi Tukker and Nova Twins have all earned their stripes at Mad Cool, which clearly has quite the eye for all kinds of untapped talent.
Ahead of this year’s edition of the festival, we’ve picked out six must-see new names from across the weekend.
Who: Intriguing art-rockers keeping a low profile Why you should see them: Grinding out four albums in five years, the elusive London-based trio began their journey very much under the radar. Now, their jangly, instinctual brand of post-punk is creeping towards full form, with a spellbinding experimental edge akin to Björk or Black Country, New Road. Festival anthem: ‘Punkt’
Genesis Owusu
Who: Australian-Ghanaian trailblazer mashing up genres like never before Why you should see them: The former NME Cover star is firmly in his own lane, bringing vivid lyrical concepts into his world by way of punk, jungle, new wave and jazz. Armed with his show-stopping, unapologetic stage presence, you won’t be able to keep your eyes off him. Festival anthem: ‘Stay Blessed’
HoneyLuv
Who: Ohio-born DJ and producer with a vivid summer flair Why you should see them: Self-taught during her time in the navy, the whirlwind journey of HoneyLuv has already taken her worldwide, from the Coachella desert to the Bali mountains. With festival-ready house anthems including viral 2022 hit ‘365 (Thr33 6ix 5ive)’, she’s more than capable of reaching the same heights as Peggy Gou or SG Lewis. Festival anthem: ‘365 (Thr33 6ix 5ive)’
Jet Vesper
Who: Former NME 100 graduate bringing glorious sun-kissed vibes Why you should see them: A self-proclaimed ‘woozy romantic funk addict’, Jet Vesper’s brand of upbeat indie-pop leaves plenty of room for more jazzy, intricate flavours. Brought to Mad Cool by way of Canberra, Australia, his infectious sound is already tailor-made for the festival stage. Festival anthem: ‘Slide Don’t Make A Cruise’
Julia Sabaté
Who: Atmospheric electro-pop that keeps you on your toes Why you should see them: Coated in layers and introspective lyricism, the Spanish-Dutch artist effortlessly intertwines bombastic pop with her luscious vocal delivery. With just four tracks to her name, her live show will only wet the appetite for even more from an artist who radiates sound and colour. Festival anthem: ‘La Ladrona’
Kneecap
Who: Alternative rap trio making headlines wherever they go Why you should see them: Belfast’s buzziest new trio blend hip-hop beats with shrewd social commentary, unapologetically standing up for what they believe in. Coming fresh off their Glastonbury debut, their Mad Cool set will be a landmark stop as they take their powerful message all over the globe. Festival anthem: ‘Get Your Brits Out’
“Is anyone bored?” probes Liam Gallagher, ever the wind-up. We’re inside Glasgow’s iconic, 1900-capacity Barrowland Ballroom, a far cry from the stadiums he’s become re-acclimated to playing over the course of his astronomically successful solo career. It’s a rare treat to stare into the whites of his eyes or receive a fist-bump from his signature maracas as he plays up to the worship from the front few rows.
It’s even more of a rarity to see John Squire at all. Reclusive and engrossed in painting these days, his only stage appearances since The Stone Roses’ second split have come at Liam’s 2022 Knebworth shows, reliving his ‘Champagne Supernova’ cameo from 1996. It was a reunion that catalysed an album’s worth of material from the Manchester icons, delivering ‘Liam Gallagher John Squire’ earlier this month, a ‘psychedelic blues stomper’ that shot straight to the top of the charts.
Kicking things off on the front foot, the duo launch into ‘Just Another Rainbow’ and ‘Mars To Liverpool’, which send the faithful into pandemonium, albeit somewhat watered-down from the usual showering of beer à la ‘Rock ‘N’ Roll Star.’ His nonchalant expression hidden behind a mop of hair, Squire lets his class do the talking. It’s guitar solos galore, showcasing the bluesy, Hendrix-esque undercurrent that dominates ‘Liam Gallagher John Squire’.
Liam Gallagher and John Squire CREDIT: Bazza Mills
As expected, the album is played in full, with Britpop cut ‘You’re Not The Only One’ and ‘One Day At A Time’ – which nods to The Rolling Stones’ ‘Paint It, Black’ – stealing the show. A man of fewer words than his usual self, Liam’s dominant vocals stay sharp all night, comfortable as ever with this new setlist. As ‘Raise Your Hands’ brings the original material to a close, mystery and murmurs emerge among the optimistic punters – what next?
Having committed to not touch Oasis or Stone Roses material, the answer is one solitary cover of the Stones’ ‘Jumpin’ Jack Flash’, which takes us up to the 50-minute mark. “We ain’t got no more fucking songs”, admits Liam, as the house lights come on to dispel any hopes of an encore. It’s a perplexingly short-lived night – especially given the £65 ticket price – only lasting five minutes longer than Jake Bugg’s support set. For just a tenner more in the summer, you’ll be able to see ‘Definitely Maybe’ performed in full.
Squire’s mere return to the stage and the intimate nature of the night may have been enough for some fans; what we received was masterful and refreshing. But if this is a partnership to be continued, they best get started on album two.
Liam Gallagher and John Squire played:
‘Just Another Rainbow’
‘Mars To Liverpool’
‘One Day At A Time’
‘I’m A Wheel’
‘Love You Forever’
‘Make It Up As You Go Along’
‘You’re Not The Only One’
‘I’m So Bored’
‘Mother Nature’s Song’
‘Raise Your Hands’
‘Jumpin’ Jack Flash’
“I attained perfection / So why the fuck was I still wondering what wankers would think of album two?” murmurs James Smith, Yard Act’s inimitable frontman. It’s the concluding remark on ‘Blackpool Illuminations’, a seven-minute spoken-word tale that vividly recounts trips to the seaside town with his parents, eventually juxtaposed against those with his own child. Indeed, this “perfection” he refers to is not their Number Two debut album ‘The Overload’ (2022), but his son, born in amongst the pandemonium of Yard Act’s sharp rise to fame.
Musings on fatherhood and his relationship with his folks (“I think you’re most in love with your parents”) are resemblant of a changed Smith, who simultaneously wrestles with the trials and tribulations of their success on ‘Where’s My Utopia?’, the Leeds quartet’s second album. Its goal was to merely make sense of their newfound status, plucked from spare moments amidst their record-breaking, relentless touring schedule. Always destined to outgrow the shallow ‘post-punk’ label, the band flex their creative muscles on the eclectic 11-song collection that tears down the very concept of genre.
Ever ones to poke fun at themselves, Smith wastes no time doing so (“Post-punk’s latest poster boys”) on ‘We Make Hits’, a track that re-affirms their underlying motivation: four brothers who relish their shared songwriting experience: “We just wanna have some fun before we’re sunk.” The clearest example of this is lead single ‘Dream Job’, which finds its place as the record’s accidental party number. It’s far from an open-top bus parade, though Smith smiles and waves in superlatives, simultaneously taking a dig at the “game” Yard Act continue to navigate their way through: “I place a bet on a game knowing no one will score”. As they recently noted to The Times: “We’ve hit the big time but we still can’t afford a house”.
Co-produced by Remi Kakaba Jr of Gorillaz, ‘Where’s My Utopia?’ is sonically playful from the get-go. Tracks like ‘The Undertow’ could have certainly found a home on Gorillaz’ 2010 concept album ‘Plastic Beach’, scurrying between hurried string sections and a throbbing bassline. Light shades of disco and art-rock take centre stage on ‘Grifter’s Grief’ and ‘When The Laughter Stops’, the latter of which enlists Katy J Pearson to help deliver the album’s most vital message. As Smith sheds a light on the rut he once found himself in (“the victim shot dead in the cold open”), we’re reminded of the layer of vulnerability that exists between the zingers.
In between samples from their comedy pals – standups Nish Kumar and Rose Matafeo – and references to all sorts of uniquely British phenomena: from ‘Fizzy Fish’ to Calpol and, er, Milton Keynes. Where’s My Utopia?’ marks an outlandish yet assertive second chapter for Yard Act, going toe-to-toe with the peculiar world that we find ourselves in.
A cover of Sophie-Ellis Bextor’s ‘Murder On The Dancefloor’ has sent the band viral in recent weeks. But, as their thrilling debut ‘Pratts & Pain’ proves, they’ve never been in danger of killing the groove
If Triple J asked you to do Like A Version, what song would you cover? It’s a question that finds its way into conversation at least once in every Australian teen’s hangouts, confirmed to NME on good authority by Royel Maddell and Otis Pavlovic, the duo that make up Royel Otis. In January 2024, that scenario came to the band – who operate somewhere between indie, pop and psychedelic rock – when they had their shot at the radio station’s coveted weekly cover slot.
Royel Otis on The Cover of NME. Credit: Danny Draxx for NME
Their answer? The song of the moment: Sophie Ellis-Bextor’s ‘Murder On The Dancefloor’, which is enjoying a second wind thanks to its masterful inclusion in 2023’s Barry Keoghan-starring Saltburn, soundtracking the film’s jaw-dropping, NSFW climax. With flamboyant synths and Pavlovic’s compelling vocal delivery, their playful take on the track took off on social media, dominating TikTok feeds and even catching the eye of Ellis-Bextor herself. Since being added to streaming services, it’s already gained a whopping 7million plays on Spotify, surpassing the majority of the band’s releases to date.
“‘Murder On The Dancefloor’ definitely wasn’t on my mind,” says Pavlovic with a wry smile, reflecting on Julia Jacklin’s 2015 cover of The Strokes’ ‘Someday’ as his favourite Like A Version growing up. Pieced together one hour during rehearsals the day before, the duo explain how the track felt “more off the cuff” than any of the other contenders on the list, which were all in the realms of “2000s disco and dance”, according to Maddell. The decision proved to be a stroke of genius.
Royel Maddell of Royel Otis. Credit: Danny Draxx for NME
Following three EPs and packed out festival appearances at Reading & Leeds, End Of The Road and Australia’s Splendour In The Grass, things are moving at a brisk pace for the duo, who met as childhood friends in Sydney. Speaking to NME over an extremely early morning Zoom call from Syracuse, New York, the band have sacrificed a chunk of their Australian summer for a brief run of US press duties. “It’s crazy how every state has a completely different vibe,” says Maddell of their first stateside visit. “I liked it in LA. It’s spread out, it’s got that Sydney vibe to it,” Pavlovic continues. “But New York? It’s nothing but skyscrapers.”
Though this might be their first taste of the US, it’s London that has become an adopted second home for the band, who recorded ‘Pratts & Pain’ with super-producer Dan Carey over the course of three weeks in his Streatham studio. After “speed-dating” various A-list producers that included Hot Chip, James Ford [Arctic Monkeys] and Rich Turvey [Courteeners, Blossoms] it was a deliberate choice from the band to enlist Carey. Despite predominantly working with British and Irish artists (including Fontaines D.C., Wet Leg and Squid), Royel Otis are not the first Australians he’s encountered.
Otis Pavlovic of Royel Otis. Credit: Danny Draxx for NME
“For starters, he wrote ‘Slow’ by Kylie Minogue,” exclaims Maddell of the 2003 single that reached Number One in the UK and Australia. “That, to me, is fucking incredible. But Fontaines and Wet Leg – Australians really love both those bands.” Carey’s magic touch adds a murkier element to ‘Pratts & Pain’, departing ever so slightly from their sun-kissed early sound that was produced primarily by “Triple J sweetheart” Chris Collins, as Maddell explains. “With Chris, everything sounds sunny and beachy, especially because of where he lives in Byron Bay. Whereas with Dan, you feel like you can hear the south London part of it.”
The album’s penultimate track ‘Always Always’ is perhaps the clearest example of this, conveying feelings of longing over its melancholic chord progression. Unsettling noise-rock creeps into ‘Sonic Blue’, juxtaposed against the upbeat grooves of ‘Adored’ and the gang vocal crash course that is ‘Velvet’. It’s barely a surprise that lyrics like ‘Fried Rice’’s “Make me a mop to clean up the scene /The pump is gonna work with the bang gang team” were often written at the nearby pub from which the album takes its name, The Pratts and Payne.
“Sadly it’s closed down now, which is heartbreaking,” says Maddell. “Pretty much after every session, we would go there and do a lot of lyric writing… between games of Trivial Pursuit!” Whilst the band’s creative process took place in this Streatham microcosm, Pavlovic explains how they spent plenty of evenings further afield in the capital, with a mixture of their own friends and Carey’s. “We were staying in Hackney for quite a bit, and we spent a lot of time at The Toucan in Soho. There’s good Guinness at The Toucan…”
“Tame Impala are amazing… but we don’t want to be compared to them!” – Royel Maddell
The uber-intensive approach is well and truly the way of working for Royel Otis, who are done with any virtual writing process that involves back-and-forth online calls. “We used to live 20 minutes away from each other, so it’s changed a little bit,”, says Pavlovic. “I don’t think it was until [2022 EP] ‘Bar & Grill’ that we found our sound… trading ideas and mashing them together,” adds Maddell. “Now we wait till we get in the studio. When something’s sent to you digitally, you forget about it.”
Nevertheless, Carey’s “intimidating” home studio was a step up from anything Royel Otis had come across before, mediated by his ever-present dog, Poppy. Struck by the Doctor Who-esque wall of synths and blinking lights that overlooked the studio, Maddell and Pavlovic watched in awe as Carey worked his magic on their album, like something of a “mad scientist.” The special chemistry that they unlocked through pub trips realised its full potential through the studio experience, initial overwhelm turning to fluid songwriting as ‘Pratts & Pain’ came to life.
Credit: Danny Draxx for NME
Speaking to NME in early 2023, the band expressed that their Australian contemporaries had struggled to break out of greater Sydney’s guitar music scene, which Maddell and Pavlovic were privy to, hanging out at gigs and bars all over Byron Bay. It was Maddell’s retreat to New York and Pavlovic’s travels around Europe that catalysed their first musical interactions. Taking a step back, it appears, was the key to unlocking the magic they would then create in Sydney, first gaining notoriety through their early EPs.
Recalling the likes of MGMT and Passion Pit through early singles ‘Only One’ and ‘Without U’, it was their 2022 single ‘Oysters In My Pocket’ that first exposed Royel Otis to a global audience. Taking the pace up just a notch, the vigour of this sound perhaps ignited the rawness of ‘Pratts & Pain’. Coupled with the soaring synths and nostalgia of their early material, they’ve been able to find a place as both indie-pop darlings and cutting-edge rockers, not too distant from the likes of Wallows and Foals.
“Genesis Owusu is a real gentleman. He’s really championed us from the start” – Otis Pavlovic
“We kind of skipped Sydney… our first tour was over in London,” recalls Pavlovic, explaining how the mere prospect of seeing the world was a no-brainer. “In the UK and Europe, you guys have such a nice passion for going to see live music,” says Maddell. “A lot of people – of all ages – don’t even know our band, and they turn up to the show. Whereas in Australia, that doesn’t really happen. In Sydney, you’ve got to know the band before you see them.”
While Tame Impala have reached seismic heights in their native Australia – with bands like Spacey Jane and The Jungle Giants not far behind – Royel Otis have done things their own way, as they prepare for a sold out tour down under, including three nights at Melbourne’s Cornel Hotel and two at Sydney’s Liberty Hall. “There’s probably an Australian indie sound. I feel like we’re not completely in it,” Pavlovic says nonchalantly, while Maddell describes the challenge for any new Australian band in 2024: “Even though they are amazing… all we want to do is try to not be compared to Tame Impala!”
Credit: Danny Draxx for NME
Forging out his own path to a similar degree of success is former NME Cover starGenesis Owusu, who joins Royel Otis as the only other artist signed to Sydney-based label Ourness. “He’s a real gentleman,” Pavlovic says, a sentiment echoed by Maddell. “Even before we released stuff, we had lunch with him and he’s really championed us from the start. Getting in the studio with him as well, that’s been talked about a lot… I think our schedules clash too much!”
As the ‘Pratts & Pain’ era begins, this jam-packed schedule will only get busier for Royel Otis, who will return to UK festival stages this summer following a headline tour of North America. While Pavlovic turns to video games to zone out, Maddell is a sucker for a film on the long plane journeys which are becoming all the more regular with touring life. He recalls the unexpectedly emotional experience of the Mark Rylance-starring comedy golf caper The Phantom of the Open, which sent him into tears five times.
Whilst Maddell is most certainly the film nerd of the two, the pair have both watched Saltburn, with Pavlovic praising how “beautifully” it was shot. In time, their ‘Murder On The Dancefloor’ cover will surely come to be merely one flicker of success in a long and illustrious career, as ‘Pratts & Pain’ confirms their status as a key voice capable of propelling guitar music into the future.
‘Pratts & Pain’ is out now on Ourness
Listen to Royel Otis’ exclusive playlist to accompany The Cover below on Spotify and here on Apple Music
Words: Rishi Shah
Photography: Danny Draxx
Label: Ourness
There’s something in the water of the River Mersey. In the past few years, a flurry of rough and ready guitar music has taken the Liverpool scene by storm, with bands like STONE and The Mysterines rapidly breaking out of the UK. Also at the heart of this movement are Crawlers, whose collection of alt-rock scorchers – which often veer towards stadium-sized emo and grunge – earned them a major record deal with Polydor [Sam Fender, Holly Humberstone].
Yet, it’s the quartet’s remarkable relationship with their fanbase (known as the ‘Creepy Crawlers’) that is perhaps their biggest victory. At their liberating, highly emotional live performances, you’ll find fans queuing round the block from the early hours, a level of dedication you’d typically associate with Yungblud and My Chemical Romance – both of whom have previously invited the band to support them on tour.
Many listeners can cite the 2021 single ‘Come Over (Again)’ – which has racked up over 50 million Spotify streams – as their introduction to the band. Having brought the curtain down on their live shows ever since, it’s only right that this defining song finds a home on Crawlers’ debut album ‘The Mess We Seem To Make.’
There’s a similar anthemic nature to ‘Kiss Me’, juxtaposing its intimacy with soaring guitar passages and the intensity of Liv Kettle’s bassline. The pace ramps up on ‘Hit It Again’, its heavy chorus guaranteed to incite mosh pits at future gigs. Departing from the band’s tour de force approach to their 2022 mixtape ‘Loud Without Noise’, this collection gives its material much more room to breathe, allowing Holly Minto’s earnest vocal delivery to take centre stage.
Fundamentally, this is a record that embraces the harsh truths of loneliness and old wounds, clearer than ever on the murky ‘End Up Alone’ or the fabulously-titled ‘Would You Come To My Funeral’; on the latter, Minto adopts a biting, impactful tone to assure the person in question that “there’s a seat laid out for you.”
Yet, there are also more poignant and beautiful moments on ‘The Mess We Seem To Make’: the guitar line of ‘Kills Me To Be Kind’ is so euphoric, it’s as though it could single-handedly lift someone out of a rut. Above all else, Crawlers reaffirm their place as one of the young guiding lights in British guitar music.
Blossoms headlined the second instalment of the relaunched Club NME with Ladbrokes LIVE this weekend (February 10) at Club Academy Manchester.
In a rare intimate appearance from the Stockport band, who are set to headline the 30,000 capacity Wythenshawe Park this August, Blossoms treated fans to a set packed with all their classic hits, from 2015’s ‘Charlemagne’ to latest single ‘To Do List (After The Break Up).’
Thanks to Ladbrokes LIVE, the sold-out crowd was treated to an aftershow DJ set from Leigh rockers The Lottery Winners, playing all the quintessential indie disco tracks into the early hours of the morning. Radio X DJ Sunta Templeton opened the night, warming up a crowd that had been queueing round the block since the late afternoon.
Credit: Tom Oxley
Tickets were once again free to punters, after Club NME relaunched in style last September at east London’s EartH, where Courteeners headlined alongside a surprise DJ set from The Libertines’ Carl Barat and Gary Powell. Since its inception in 2005, Club NME took indie disco all over the world, and the Blossoms show marked the next stage in its ambitious relaunch, made possible by Ladbrokes LIVE.
Taking to the stage just after 10pm, Tom Ogden and co. wasted no time in bringing the hits, sending the crowd into raptures with ‘I Can’t Stand It’ and ‘Honey Sweet’ early on in the night.
Speaking to NME ahead of the set, Ogden explained how 2015 deep cut ‘You Pulled A Gun On Me’ had made a return to the setlist, citing it as one of his favourite songs to play live. “I always love ‘Your Girlfriend’, but that feels obvious going for a bigger tune. We haven’t played ‘You Pulled A Gun On Me’ in nearly eight years, so that’s a curveball.”
Closing the set with ‘There’s A Reason Why (I Never Returned Your Calls)’ and the inevitable climax of ‘Charlemagne’, Ogden reminisced on the full circle nature of the night, having played Club Academy Manchester in former bands, “before we became big and famous!”
The Lottery Winners closed proceedings with a DJ set that included indie disco essentials ranging from Courteeners to The Strokes, continuing the party deep into the night.
Stay tuned to NME for more coverage from the big night. For a chance to win tickets to the next Club NME night, sign up for free at ladbrokeslive.co.uk
Ladbrokes LIVE is a digital entertainment platform that rewards fans with free access to the UK’s best live music, comedy and sports events, in partnerships with The O2, AEG Presents, NME and many more. With thousands of tickets and unique live experiences to be won, register at ladbrokeslive for free and follow them for news on the latest ticket drops.
You Me At Six frontman Josh Franceschi has told NME why the band have decided to split, as well as talking through plans for their final world tour that will extend into 2025. Read our full interview below.
This comes after yesterday’s shock announcement that the rock veterans would be calling it quits, as the Surrey quintet broke the news to fans through a video montage posted on social media. As they approach their 20th anniversary next year, Franceschi described how that milestone “has always been our finish line.”
“This is like our childhood crush, that we’ve been together with for 20 years and grown up alongside”, he continued. “But it is so much bigger than us five. It’s completely out of our hands what this band means to others. Let’s have the opportunity to say goodbye properly, versus slipping out the back door.”
The band confirmed that a final run of UK shows will take place in 2025, following their last festival appearances this May which sees them headline Slam Dunk for the third time.
Franceschi opened up to NME about the process behind the decision, plans for their victory lap, and what life after You Me At Six will look like.
NME: Hello Josh. How are you feeling now that the cat’s out of the bag?
Franceschi: “We were all together yesterday, in our manager’s office. It’s been quite a confronting thing, going to bed every night knowing this band’s actually going to come to an end. I feel I’m getting a glimpse of what it would be like to die, then see what people were saying about me afterwards!
“I think the fans are grieving now, but we’ll probably grieve when we’ve only got a couple of shows left. Fuck, this is it. There’s always that thing – don’t be sad something’s over, just be happy it happened in the first place. That’s where I’m at with it.”
How did you come to the decision that it was time to bring an end to You Me At Six?
“We’ve been talking a lot over the last couple of years about what motivates us, collectively. We’ve achieved everything we wanted to in the sense of the things that mattered most to us: playing Brixton [Academy], going to America and Australia. Two Number One records, all these sort of mad, stupid headlines.
“But the thing that mattered the most is longevity, getting closer and closer to that 20 year mark. We don’t need this band for self-indulgent reasons. We’re all really satisfied with what we’ve done, let’s just tie a nice little ribbon or bow around it. You don’t want to be the last ones hanging around at the party. We want to be a band that bowed out, not one that was kicked out.”
When did you have this realisation? It hasn’t even been a year since you released ‘Truth Decay’…
“I [initially] wanted [2021’s] ‘SUCKAPUNCH’ to be our last record, then the pandemic kind of recomputed everything. When we made ‘Truth Decay’, I started saying this should be our last record. We knowingly and submissively made a bit of a throwback record, and we asked ourselves, ‘Why did we do that?’ We just leaned into our younger selves.”
Does that mean ‘Truth Decay’ is the last bit of music we’ll ever hear from the band?
“I wonder if anyone picked up on it, we were warning everybody. That’s why we did the throwback style, the suits we wore. We were saying, ‘This is the beginning of the end’ from then! But as far as I’m concerned, there’s no more music coming from us.”
Have you considered releasing music outside of You Me At Six?
“There’s no doubt in my mind that I’ll be creative, and making music. What that looks like, and in what capacity remains to be defined. Music’s been my life for 20 years. It’s definitely the most honest representation we can give, when we’re trying to project how we’re feeling. So again, that would be nuts, for me to not be doing that in some way. I’m sure the others will do exactly the same. We’ll see. But for now, that’s a completely different conversation.”
Your first festival was Slam Dunk, and your debut single was released on Slam Dunk Records. How poetic is it to return as headliners for your final festival show?
“Ben Ray, who books Slam Dunk, was our first ever manager and gave us our first show in a proper venue at The Cockpit in Leeds. When we got there, we just bombarded him, let us open [the festival]. No one knew who we were. But he believed in us, and he gave us that chance.
“I think it’s a really poetic ending to our great relationship. How big that festival has become is a testament to him and his team, but also to this alternative scene that we have in England. When other festivals have maybe dipped in and out of guitar music, Slam Dunk hasn’t. It’s a great honour to go and play there.”
Those Slam Dunk shows really represent going out with a bang…
“I feel really connected to the idea of how we’re doing it. There are so many examples of artists that have fallen out publicly, or have left a bitter taste in the mouths of their fanbase, who have supported you for so long. It’s always been us five, making music for each other as friends. [‘Truth Decay’] was the easiest record we ever made, it was just so full of joy.”
“I thought we were going to end it after the South American tour we did in December. But we need to make our fans understand how much we respect this thing, and that we don’t take this lightly. It’s been really measured and thought through. It’s all about this next 12-15 months; I think it’s going to end in April next year. How much can we give back before we clock off? For me, it’s the perfect final chapter.”
When can we expect to hear details of your farewell tour?
“We’ve worked out that our final gig is going to be 20 years to the day since our first ever band practice, which is wild. It wasn’t even deliberate. The UK tour is gonna be pretty mad. It’s a couple of months until we announce those dates. We’re looking at going to America, Europe, Australia, and Japan.”
How do you whittle down eight albums into one final setlist?
“We know we want to play for over two hours. There are songs off ‘Take Off Your Colours’ that we haven’t played in so long, plus deep cuts like ‘The Swarm’. We want to have about 40-50 songs that are all rehearsed so that we can mix it up every night. If you come to multiple nights, you’re gonna see a different show the next night. I think that will keep us on our toes.”
What makes you most proud about You Me At Six?
“We’ve had really wobbly moments, leaving two major labels, five different managers. Win, lose or draw, we’ve been earnest and true to ourselves. We’ve not been afraid to make mistakes, and I’m proud of the fact that we’ve all had to take it in turns to take the mantle of not losing faith. That’s what makes a great team, when people are willing to carry each other through the bad moments.
“I think our fans have picked up on the fact that this is a serious underdog story. I really hope other bands look at our story and can take things from it. I remember when [Catfish And The Bottlemen frontman] Van McCann came up to me at Manchester Apollo, years ago. We stayed in contact, and he went on to be in one of the biggest bands our country’s produced in 20 years in Catfish. I’ve had people reach out to me that I had no idea even fucked with us at all. It’s good to know we’ve done something right in our little lives.”
Have you thought about life after the band?
“There are three weddings happening, between the five of us. There’s a lot of talk of going travelling, or maybe start having kids and that sort of stuff. We’re still figuring it out. Maybe there’s nothing to figure out, and we’ll just go where the wind takes us.
“The concept of those four not being in my life is just completely mental to me, that would never happen. I have no doubt that we’ll be together and we’ll do stuff socially. I’m sure for some of us, if not all of us, there’ll be more that will happen down the line creatively. But I’m going to focus more on the immediate future, and make it a beautiful ending to a pretty remarkable story.”
You Me At Six will headline Slam Dunk Festival this May, with details of their final tour that extends into 2025 to be announced soon. The band will also be playing a BRITs week War Child show on February 19 at Brighton Concorde 2 next month. Check out the band’s other 2024 tour dates below, with tickets available here.
FEBRUARY 9 – Wolverhampton, KK’s Steel Mill 10– Norwich, UEA 11– Bristol, o2 Academy 13– Oxford, o2 Academy 14– Middlesbrough, Town Hall 15– Aberdeen, P&J Live 17– Liverpool, Liverpool University 18– Portsmouth, Guildhall MAY 25 – Slam Dunk South, Hatfield Park 26 – Slam Dunk North, Temple Newsam
Whether it’s vocalist Ben Barlow’s bootleg Titanic t-shirt or guitarist Matt West’s chic, glare-free new glasses (which are apparently perfect for photoshoots), there’s no denying that Neck Deep are one of the best dressed bands around. We’re sat inside Duke’s Cupboard, a vintage store in the heart of Soho that has become a customary pit stop any time the band are passing through London. As they prepare for the release of their self-titled, fifth album, Ben and Matt are in high spirits as they meet NME, refreshed and ready to seize the coming year.
Photo Credit: Nat Wood
Their next visit to the capital will be the most significant one of their career. Alexandra Palace awaits, no less, for a 10,000-capacity headline show on 28 March. Having flirted with the idea for a few years, the pop-punk quintet – who originally hail from Wrexham – are finally taking the leap of faith and playing their first arena show, bringing special guests Knuckle Puck and Drain along for the monumental occasion.
“I think now’s the right time to do it!” Ben assuredly tells NME. With the vintage energy of songs like ‘Sort Yourself Out’ and ‘Take Me With You’, the new album will no doubt slot seamlessly into the live show. After hitting somewhat of a brick wall during the initial recording process in LA, it was a back-to-basics approach that reinvigorated the album. Recorded a stone’s throw from Wrexham, the band’s switch to home turf changed the game, as they built their own DIY studio space from the ground up in the process.
Completed by guitarist Sam Bowden, new drummer Matt Powles and bassist-slash-producer Seb Barlow (Ben’s brother), the band have powered through a number of line-up changes to bring Neck Deep entirely back onto their own terms. “This feels like the most comfortable and harmonious version of the band”, Ben tells NME, as Matt nods his head in agreement; a bold statement from the two current members who have been there since day one.
With hit single ‘December’ continuing to hit new heights following a viral cover from BLACKPINK’s Rosé and a reimagined version with Blink-182’s Mark Hoppus, Neck Deep’s rise is by no means finished. Ben and Matt joined NME for the latest in our In Conversation series to discuss the new album, plans for Ally Pally and their long and winding journey.
Photo Credit: Nat Wood
NME: Congratulations on the release of your fifth album. What was behind the decision to self-title this record?
Ben: “We had loads of album titles floating about, but there wasn’t one that was really sticking for everyone. We ended up having to pivot what we were doing…going out to LA to make the record didn’t really turn out how we wanted it to, so we ended up doing the record ourselves in our own studio. When the idea of a self-titled was thrown out, we thought, we’ve literally built this from the ground up.”
What wasn’t quite going right for you in LA?
Matt: “It was one of those situations where everyone was feeling the same thing but no one wanted to be the first person to say anything.”
Ben: “We’d had a few days in the studio that were quite slow. I mean, you can get ‘demo-titis’, where you just get hooked on the demo. But we knew that there was something missing from this. We definitely had a few pretty stressful conversations, [it was] essentially setting ourselves back a month or so. But it was for the best.”
Matt: “As much as we’ve travelled, everyone’s a homebody. I think having the ability to go to the studio, and then just go home at night, we’ve not really experienced that [before]. Unless you’re Seb, in which case, the studio used to be his home and his bedroom!”
Did setting up your own studio space in Wrexham unlock some memories from the early Neck Deep days?
Ben: “It did feel like going back to the old days, where we didn’t really have anyone telling us what we could or should do. We know ourselves better than anyone. It was sweet; let’s just sit in a room and work on this until it feels good – and not have to hold back or compromise. It’s every band’s weird boyhood dream, having a little ‘clubhouse’.”
Ben: “Well, we’ve always said we’d rather play the Racecourse Ground over Wembley…that would be the dream.”
Matt: “Tell Ryan and Rob!”
Ben: “For the first time ever, there’s some positivity about Wrexham. It’s really sick to see it have its day in the sun…outside of the rowdiness, it’s beautiful, the people are super down to earth – maybe it gets a bad rep[utation]. It’s similar to how Neck Deep have always had a lot of naysaying, people that didn’t want us to succeed. Wrexham has a lot of that too. I think being from Wrexham gave us that attitude in the first place, where if you ain’t with us, then kick rocks.”
Photo Credit: Nat Wood
It’s not quite the Racecourse Ground, but you’re headlining London’s Alexandra Palace in March – how does that feel?
Ben: “It’s been in the pipeline for a while. This new record, there’s so much energy to it…I think fans are just gonna love this record. I don’t think we ever lost form, but people are calling it a return to form – I’ve seen a few comments about it. If we can jump on that and do Ally Pally, 10,000 people front to back…”
How’s the setlist coming together for such a celebratory occasion?
Ben: “We’ve got a new album that we’re dead proud of, but we can’t neglect everything up to that point. It’s our biggest headliner to date, so I think it makes more sense for it to be that celebration. We’re throwing a few deep cuts off ‘Wishful Thinking’ and ‘Life’s Not Out To Get You’, stuff that we haven’t played in a long time. There’s something off every record, so hopefully people are going to walk away thinking, ‘I saw Neck Deep at their best’, and really get a sense of the journey we’ve been on. I’m not ripping The 1975 off there!”
You’ve just toured ‘Rain In July’ in full and are celebrating ‘Life’s Not Out To Get You’ at When We Were Young festival. Is it sentimental rehearsing these songs again?
Ben: “When we first started practising for the ‘Rain In July’ tour, it gave me a new perspective on our live performances; the core elements of it. To fully throw ourselves back into how we used to do things gave me a bit of confidence, to be more involved with the crowd.”
Matt: “It’s in the box now. I still really enjoyed doing it, but it’s time to put this to bed now. If I never play ‘Silver Lining’ again in my life, I’ll be fine!”
Ben: “Nostalgia, whether we like it or not, is a huge part of our genre specifically. ‘Life’s Not Out To Get You’ was arguably the record that got us out there, so to pay homage to that is cool. I think as long as it can be kept special, rather than just a little party trick or whatever.”
Was ‘December’ on heavy rotation at Christmas time?
Ben: “It’s our unofficial Christmas song, I would say. Sometimes they’re the best Christmas songs, the ones that just suit that time. We get a nice little nice little bump in the algorithm every year!
It’s been two years since BLACKPINK’s Rosé covered ‘December.’ How do you reflect on that moment?
Ben: “It’s wild. She didn’t have to do that, so it’s really sick because it massively shone a light on that song. Some of the success we’ve had in Asia, I wouldn’t be surprised if it was down to that.”
Matt: “We had no idea it was happening. We just woke up and saw it!”
Will you be bringing her out at Ally Pally?
Matt: “We’re spending enough on production as it is!”
Down a maze-like path between some stacks of paving slabs at the back of a warehouse, you’ll find the entrance to the Shoreditch HQ that bby call their home. Upon arrival NME are greeted by bassist Deon Graham, drummer Tom Parkin and vocalist Benjy Gibson, who is drinking a can of Liquid Death water, seemingly confused at how it magically appeared in the room. Random items are scattered all over the studio space, notably the “double-decker sofa” – which the band insist is not a bunk bed – that overlooks the makeshift stage where a drum kit is resting.
It’s also the perfect spot for the chaotic live shows that bby have hosted over the past year; a DIY-style residency, if you like. Referred to as ‘hangs’, the band invite fans via social media to mingle before playing an ultra-intimate live set, that usually ends in complete pandemonium: look no further than the music video for their debut single ‘Hotline’. Artists from the underground pop, indie and R&B spheres that bby immersive themselves in also perform at these events, with Willow Kayne, hemlocke springs and SIPHO. some of the latest to make an appearance.
After a period of DMing online, the five-piece (completed by guitarists Jessy Jacquet-Cretides and Tommaso Medica) went in completely blind as they walked into Pirate Studios in Dalston to test the waters with a rehearsal in early 2023. “It was like, ‘Nice to meet you, I guess we’re in a band now,’” says Deon, explaining how things began to move at a serious pace when the chemistry clicked. After being chased down the road by industry figures after a raucous set at The Windmill in Brixton, the band were booked to play All Points East and Leeds Festival last year; incredibly, their first-ever festival slots. Both lineup posters sit proudly on the wall behind us as we speak – a marker of bby’s success to date.
Yet, the band keep themselves remarkably grounded. Meeting every Wednesday, bby remain focused on these weekly sessions, which have already resulted in a red-hot string of singles that have been churned out thick and fast. From the bouncy ‘Hotline’ to the emotive ‘U Come Near’ – both of which recall likes of Royel Otis or Phoenix – their sound driven by a less-is-more approach to production, which transports the listener straight into the sweatbox feeling of bby’s live shows.
Naturally, for the band, downtime has taken somewhat of a back seat in the wake of all this momentum. It seems that infectious party atmosphere is ever-present in the world of bby: “We’re going to try and go away for a bit”, Benjy tells NME. “But anywhere we can be really loud, because we’re very fucking loud. It has to be a lighthouse in the middle of nowhere, which has proven hard to find!”
For their first-ever interview, it was only right to step inside the space where the magic happens. NME gatecrashed bby’s final Wednesday session before Christmas to reflect on their sensational first year as a band.
NME: When did you come across this space?
Benjy: “Six months ago?”
Deon: “This room was bare. This looks pleasant now, but when we first walked in here…”
Benjy: “It’s actually all ours, this stuff. It was kind of our idea that we’ll set up this room, so anyone can use it. Most importantly, the double-decker sofa. We got some friends in to help us, because none of us are that good at DIY work. I’ll be honest, we didn’t make the double decker sofa… or maybe we’ll just spin that one? We did it all!”
Deon: “If you’re sitting up there, then someone’s probably going to be mischievous with your feet. But I would lie down, and someone would be underneath, pulling my braids!”
That must be the best seat in the house for one of your ‘hangs’…
Benjy: “We should make it mentally expensive, like £300. You’d get a free can of Liquid Death with it too.”
Deon: “A sofa wristband! Can I see your pass please?”
Benjy: “At the last hang, the three people who were on the sofa were the rowdiest people. If you’re gonna get lit, maybe don’t do it on top of the sofa. Though it definitely encourages [crowd surfing].”
How does one get invited to one of these shows?
Benjy: “It’s a link on the [Instagram] story and then our manager just picks random peeps. And then you get a text, Love Island style.”
Credit: bby
Where’s the furthest someone has travelled from to see you perform?
Deon: “The Isle of Wight.”
Benjy: “Someone came from Ireland as well.”
Deon: “The thing with the Isle of Wight, it was one of the first ‘hangs’ and we were interviewing people as they came in. And then Benj was really excited: ‘Oh my god, this girl came from the Isle of Wight’ – and I didn’t even know where that was! And I was interviewing her, so I said, ‘Ha, more like the ‘Isle of Wrong’. Then I realised it’s like six, seven hours away or something stupid!”
Have there been any standout live shows this year?
Tom: “The drums broke at the first one! The snare stand broke and the technician sorted it halfway through.”
Benjy: “Wasn’t that in the middle of a song? You fucking came in on time as well!”
Deon: “I liked the Halloween one and the Willow [Kayne] one.”
What can we expect from a bby set?
Benjy: “They’re pretty loose. We never do any shows with the setlist, we will just play whatever we feel. At every ‘hang’, we normally add some ideas we’re working on. It’s normally pretty messy, in a nice way.”
Tom: “It’s not a refined thing, we just jam it out.”
Deon: “I think The Windmill was a big show for that. There was an understanding [between us].”
Are the studio singles we’ve heard so far all inspired by the energy of your live shows?
Benjy: “Whatever’s going off at the ‘hangs’, we release that. That’s how ‘Hotline’ started, and it kinda went on. I do most of the production, but I guess it’s a bit old school, too. We can make a song as a group so we’re all kind of producing in the making of the song.”
Are there any artists you look up to for that approach?
Tom: “Someone asked me the other day, you must have a band you all look up to and want to be – but not really. Everyone’s so different, it just comes together. But Nirvana, that’s what got me into drums, or Foo Fighters, Red Hot Chili Peppers… that sort of thing.”
Deon: “Growing up for me, it was all about Coldplay and Kanye West. Recently, I’ve been listening to Steve Lacy and a lot of Bakar as well.”
Benjy: “Jessy listens to a lot of jazz, and Tommy has this crazy vinyl collection where he’s listening to these rogue Japanese horror soundtracks. The first records I ever bought were [Eminem’s] ‘The Marshall Mathers LP’ and then P!nk’s ‘Missundaztood’.
Is the plan to keep up the momentum into 2024?
Benjy: “I think we want to drop a record. We’ll carry on doing the ‘hangs’ everywhere; I have fantasies of us touring the US and doing a show in some random basement.”
Down a maze-like path between some stacks of paving slabs at the back of a warehouse, you’ll find the entrance to the Shoreditch HQ that bby call their home. Upon arrival NME are greeted by bassist Deon Graham, drummer Tom Parkin and vocalist Benjy Gibson, who is drinking a can of Liquid Death water, seemingly confused at how it magically appeared in the room. Random items are scattered all over the studio space, notably the “double-decker sofa” – which the band insist is not a bunk bed – that overlooks the makeshift stage where a drum kit is resting.
It’s also the perfect spot for the chaotic live shows that bby have hosted over the past year; a DIY-style residency, if you like. Referred to as ‘hangs’, the band invite fans via social media to mingle before playing an ultra-intimate live set, that usually ends in complete pandemonium: look no further than the music video for their debut single ‘Hotline’. Artists from the underground pop, indie and R&B spheres that bby immersive themselves in also perform at these events, with Willow Kayne, hemlocke springs and SIPHO. some of the latest to make an appearance.
After a period of DMing online, the five-piece (completed by guitarists Jessy Jacquet-Cretides and Tommaso Medica) went in completely blind as they walked into Pirate Studios in Dalston to test the waters with a rehearsal in early 2023. “It was like, ‘Nice to meet you, I guess we’re in a band now,’” says Deon, explaining how things began to move at a serious pace when the chemistry clicked. After being chased down the road by industry figures after a raucous set at The Windmill in Brixton, the band were booked to play All Points East and Leeds Festival last year; incredibly, their first-ever festival slots. Both lineup posters sit proudly on the wall behind us as we speak – a marker of bby’s success to date.
Yet, the band keep themselves remarkably grounded. Meeting every Wednesday, bby remain focused on these weekly sessions, which have already resulted in a red-hot string of singles that have been churned out thick and fast. From the bouncy ‘Hotline’ to the emotive ‘U Come Near’ – both of which recall likes of Royel Otis or Phoenix – their sound driven by a less-is-more approach to production, which transports the listener straight into the sweatbox feeling of bby’s live shows.
Naturally, for the band, downtime has taken somewhat of a back seat in the wake of all this momentum. It seems that infectious party atmosphere is ever-present in the world of bby: “We’re going to try and go away for a bit”, Benjy tells NME. “But anywhere we can be really loud, because we’re very fucking loud. It has to be a lighthouse in the middle of nowhere, which has proven hard to find!”
For their first-ever interview, it was only right to step inside the space where the magic happens. NME gatecrashed bby’s final Wednesday session before Christmas to reflect on their sensational first year as a band.
NME: When did you come across this space?
Benjy: “Six months ago?”
Deon: “This room was bare. This looks pleasant now, but when we first walked in here…”
Benjy: “It’s actually all ours, this stuff. It was kind of our idea that we’ll set up this room, so anyone can use it. Most importantly, the double-decker sofa. We got some friends in to help us, because none of us are that good at DIY work. I’ll be honest, we didn’t make the double decker sofa… or maybe we’ll just spin that one? We did it all!”
Deon: “If you’re sitting up there, then someone’s probably going to be mischievous with your feet. But I would lie down, and someone would be underneath, pulling my braids!”
That must be the best seat in the house for one of your ‘hangs’…
Benjy: “We should make it mentally expensive, like £300. You’d get a free can of Liquid Death with it too.”
Deon: “A sofa wristband! Can I see your pass please?”
Benjy: “At the last hang, the three people who were on the sofa were the rowdiest people. If you’re gonna get lit, maybe don’t do it on top of the sofa. Though it definitely encourages [crowd surfing].”
How does one get invited to one of these shows?
Benjy: “It’s a link on the [Instagram] story and then our manager just picks random peeps. And then you get a text, Love Island style.”
Credit: bby
Where’s the furthest someone has travelled from to see you perform?
Deon: “The Isle of Wight.”
Benjy: “Someone came from Ireland as well.”
Deon: “The thing with the Isle of Wight, it was one of the first ‘hangs’ and we were interviewing people as they came in. And then Benj was really excited: ‘Oh my god, this girl came from the Isle of Wight’ – and I didn’t even know where that was! And I was interviewing her, so I said, ‘Ha, more like the ‘Isle of Wrong’. Then I realised it’s like six, seven hours away or something stupid!”
Have there been any standout live shows this year?
Tom: “The drums broke at the first one! The snare stand broke and the technician sorted it halfway through.”
Benjy: “Wasn’t that in the middle of a song? You fucking came in on time as well!”
Deon: “I liked the Halloween one and the Willow [Kayne] one.”
What can we expect from a bby set?
Benjy: “They’re pretty loose. We never do any shows with the setlist, we will just play whatever we feel. At every ‘hang’, we normally add some ideas we’re working on. It’s normally pretty messy, in a nice way.”
Tom: “It’s not a refined thing, we just jam it out.”
Deon: “I think The Windmill was a big show for that. There was an understanding [between us].”
Are the studio singles we’ve heard so far all inspired by the energy of your live shows?
Benjy: “Whatever’s going off at the ‘hangs’, we release that. That’s how ‘Hotline’ started, and it kinda went on. I do most of the production, but I guess it’s a bit old school, too. We can make a song as a group so we’re all kind of producing in the making of the song.”
Are there any artists you look up to for that approach?
Tom: “Someone asked me the other day, you must have a band you all look up to and want to be – but not really. Everyone’s so different, it just comes together. But Nirvana, that’s what got me into drums, or Foo Fighters, Red Hot Chili Peppers… that sort of thing.”
Deon: “Growing up for me, it was all about Coldplay and Kanye West. Recently, I’ve been listening to Steve Lacy and a lot of Bakar as well.”
Benjy: “Jessy listens to a lot of jazz, and Tommy has this crazy vinyl collection where he’s listening to these rogue Japanese horror soundtracks. The first records I ever bought were [Eminem’s] ‘The Marshall Mathers LP’ and then P!nk’s ‘Missundaztood’.
Is the plan to keep up the momentum into 2024?
Benjy: “I think we want to drop a record. We’ll carry on doing the ‘hangs’ everywhere; I have fantasies of us touring the US and doing a show in some random basement.”
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