Disclosure

Surrey brothers, Disclosure, effortlessly combine the 2-step garage rhythms and dubstep basslines of their locale with their own rich musical heritage of soul, jazz and 90s hip hop. Crafting their own lo-fi dream-dub sound, Disclosure released their d..

Pulp

Pulp is an English alternative rock band from Sheffield consisting of Jarvis Cocker, Candida Doyle, Nick Banks, Steve Mackey and Mark Webber.

Chet Faker

Chet Faker is an Australian electronica musician.

Mogwai

Mogwai is a post-rock band founded in Glasglow, UK in 1995. Their namesake comes from the creatures in the film “Gremlins.”

Underworld

Underworld – the British duo Karl Hyde and Rick Smith – have been one of the most pioneering and influential electronic acts in the world for more than twenty years.

Friendly Fires

RA: Resident Advisor

Barrington Levy

Barrington Levy is a reggae and dancehall artist from Jamaica.

Ezra Collective

Femi Koleoso - Drums

TJ Koleoso - Bass

Joe Armon Jones - Keys

Dylan Jones - Trumpet

James Mollison - Saxophone

Greentea Peng

RA: Resident Advisor

Mall Grab

love is everything

Joy Orbison

RA: Resident Advisor

Kae Tempest

RA: Resident Advisor

Dry Cleaning

Dry Cleaning are a 4-piece from South London.

Alabaster Deplume

Music, words and behaviour, London and Manchester.

New album ‘A Blade Because A Blade Is Whole’ Out Now

https://international-anthem.lnk.to/ABladeBecauseABladeIsWhole

Christy Moore

This is the official Christy Moore Fan Page - for more see: www.christymoore.com

Kneecap

Condemned by politicians, beloved by fans, kicked out of their own gigs, and packing festival tents to overflow, Kneecap are a cultural phenomenon.

Crashing into the consciousness with the release of, C.E.A.R.T.A., a track and video inspired by a police chase while protesting for Irish language rights, they’ve proceeded to run rampage across small rooms and massive festivals in Ireland, the UK, and the US, leaving a bemused media and captivated followers in their wake.

Heralded by the New York Times, the LA Times, Dazed, Vice, i-D, the Guardian, and others, Kneecap’s irreverent, complex, and potent lyrics speak to a time of political upheaval, youthful rebellion and discontent, and a renewed urge to party.

Kneecap is a movement, one about upending preconceptions about language and place, and reimagining what rap can be as a creative and cultural force.

Witch

Kerri Chandler

Kerri 'Kaoz' Chandler one of deep house music's originators, has been injecting soul into music since the early nineties.

Say She She

Lambrini Girls

Debut album 'Who Let The Dogs Out' is out now.

"The best band in the world. Imagine your nan is in the boot of your car with a croissant in her mouth and hears Bikini Kill for the first time. That could be you, it will never be us as we are not Bikini Kill and we are not your nan. We are Lambrini Girls. Bon Appétit.”

Brighton three piece Lambrini Girls are: Phoebe (vocals/guitar), Lilly (bass) and pseudonymous street artist and political activist - Banksy (drums).

Self Esteem

Management: louise@goldenarm.me & cherishkaya@googlemail.com

Live: Andy Duggan at Primary ADuggan@wmeagency.com

Instagram @selfesteemselfesteem

Anna Von Hausswolff

Sprints

Formed in late 2019 Sprints have barely paused for breath since. Debut AA side ‘Kissing Practice’/ ‘The Cheek’ immediately landed them a fan in BBC 6Music legend Steve Lamacq and, as the year played out, early support from the likes of DIY, NME, So Young and more. Cemented by the reception to the ‘Manifesto EP’, it’s allowed them to dig even deeper into their policy of honesty.

Everything that goes into the band’s cathartic punk battle-cries can be seen as something of a call-to-arms: an attempt to silence the internal doubting voices and to fight against the outdated social tropes that box in individuality. Now, more confident in their opinions and identities than ever, forthcoming EP ‘A Modern Job’ (produced once again by Gilla Band’s Daniel Fox) is set to take these ideas – that the personal is innately political, and that expression and using your voice is fundamentally crucial – and solidify them even further. Sprints’ latest is a vital, visceral next step.

Getdown Services

An international artist from the UK.

Gilla Band

Irish noise rock band, releasing records with Rough Trade Records

The Mary Wallopers

Raw Irish folk brought into the present. It all began just before the pandemic, when brothers Charles and Andrew Hendy joined forces with their friend Seán McKenna. Their first winter together hadn’t even ended when the pubs shut down. But the musicians wanted to keep the spirit of a rowdy pub sing-along alive – complete with swearing workers and wonderfully inappropriate jokes. So on St. Patrick’s Day 2020, they decided to share that atmosphere with the world through one of the very first livestreams of the Covid era. The Mary Wallopers later grew in size, and in spring 2025 founding member Seán left the band. Nothing of their uncompromising energy disappeared, though – the group has kept its unmistakably authentic approach. Their sound comes from refusing to cling to traditions and instead embracing influences from popular genres, including punk and R&B. Their music can be as political as it is playful, turning tradition into a living, breathing, shouting celebration of community and resistance. And Irish folk, so close to Czech audiences, won’t be missing at the 23rd edition of Colours of Ostrava either – this time landing somewhere between the punk edge of The Pogues and the experimental spirit of Lankum.

Maruja

Artists in the truest sense of the word, Maruja’s ferocious combination of punk, harsh noise, and transcendent cosmic jazz is fast marking them out as one of the most exciting new acts in the country. The years spent relentlessly honing their craft are paying off in style, driven not just by passion but rather an all-consuming need to create and perform with a visceral intensity, they are both electrifying and terrifying.

Anyone who’s seen a Maruja show will know what drummer Jacob Hayes means when he talks about an atmosphere that’s “both feral and loving.” Maruja gigs are a spiritual experience – free-flow jams of uncategorisable music. Punk meets free jazz, with lyrics, rooted in rap, that are all about the message; vicious guitar loops, psychedelic bass, transcendent saxophone – and a voice, in Harry Wilkinson, that stretches from a Manchester version of Zack de la Rocha, to a call to prayer.

Their long-awaited debut album Pain to Power captures those moments in live performance when, as Jacob puts it, “things move to another level – the flow state”. The band compose in a unique way: their music is largely improvised, and they bring their personal feelings into every jam – so it was natural that contemporary politics bled into their songwriting. “Trump came in on 20 January, slap bang in the middle of our recording process,” says saxophonist Joe Carroll; and the band have followed the conflict in Gaza with grim attention, resulting in (as bassist Matt Buonaccorsi puts it) “that combination of heavy tragedy and hope. This is a tragedy that’s beyond horrific, it’s so oppressive that hope itself seems impossible to find.”

This cycle of tragedy and hope is there at the heart of Pain to Power. “It starts off brutal and turns into something powerful and expressive,” says lyricist, rapper and singer Harry. “We have to trust in that circle of life, and in our power to overcome pain.” The album follows the arc of a live show: an onslaught of energy, arriving at a place of transcendence, the music itself “rising from the ashes”.

Some of the most political music is the least prescriptive. At their heart, Maruja fight against an increasingly individualistic society. At the end of every show, Harry repeats the same mantra: “We wish you peace, prosperity and unity in these times of global oppression. Together we are stronger, please raise a fist for solidarity”. Everyone joins in, he adds.

Pain to Power was put together in an astonishingly short time – just two months, at the start of this year – and was produced by Samuel W Jones, already expert at giving Maruja records the feel of the crowd that wasn’t there.

The lead single Look Down On Us is a hair-raising critique of late-stage capitalism, morphing into a poignant meditation on the need for hope fuelled by plaintive sax.

The ferocious Bloodsport (“Complicit! Crossfire! No Vision! Live wire!”) was finished in just two hours. The song started with a guitar loop and a pounding drum roll, but the boys realised it had the same BPM as many of the records in their vast drum and bass collection: “so this is drum and bass through a punk filter.”

Harry almost raps, even talking about the record, his words coming in a rhythmic flow of energy. Maruja have always been acutely aware of mental health, and Bloodsport takes world events and examines their corrosive effect on the individual: “We're swallowing our fears till our kids are overdosing… I'm an addict addicted to my bad habits…”

“How does someone feel when they have no power?” Harry says. “All they want to do is find a little bit of dopamine to release them from the oppressive cloud that hangs over their head. All of these narratives coalesce into mental health crises. How are you going to pull yourself out of that? It takes courage to try and find inner peace, to recognise our own flaws…”

Pain to Power identifies the frustrated energy of a disengaged populace, and of people who want to protest but are finding it harder and harder in the current climate. On a recent American tour, the band spoke with fans who have taken to wearing balaclavas on peaceful demonstrations, afraid of arrest and deportation.

Maruja have a strong message of spirituality and talk about it with an understanding that recalls John Coltrane and other jazz giants of the past. It is a sentiment captured in Born To Die (“We are universal spirits and our kingdom is this earth,”) which whirls into a storm of cymbals and industrial feedback.

“Music itself is healing,” says Harry, “and we should help other people in a culture that is very repressed. The only spiritual things left in the world are music and love. Spirituality is ridiculed – people would rather believe in nihilism, which shows how disconnected we are.”

The tension of Pain to Power – the rage that informs those heavy opening songs – is repeatedly built up and broken by sonics reproducing the euphoria at the end of Maruja shows.

Zaytoun, with its vocal cries like seagulls, is a fully-improvised free-jazz piece, named after the Arabic word for olive tree: a symbol of peace and resilience with connection to the land that is deeply rooted in Palestinian culture. “That’s what our jams are,” says Joe. “Coming together to release this energy. We can’t do it by ourselves, so it symbolizes our unity.”

Saoirse, meaning ‘freedom’, and inspired by the band’s own Celtic roots, is a showcase for sax and strings. This remarkable track looks at the ties between Ireland and Palestine, epitomised in the Irish protest slogan “Saoirse don Phalaistin”. Among his grandfather’s possessions in Sligo, Joe found a decades-old comic strip depicting a “Black and Tan” Irish soldier boarding a boat to Palestine. Lyrically the song speaks to the power of unity to combat division with frontman Harry Wilkinson’s deeply moving mantra: 'It’s our differences that make us beautiful’.

The exquisite nine-minute opus Reconcile, with an entrancing polyphonic interlude and a story all of its own in the drums, is about embracing love, being at peace with the cycle of destruction. “The hatred will always come,” says Joe. “Embracing love is the overall message.”

The shuddering metal of Trenches was inspired by one of Maruja’s regular messages to fans before gigs: “See you in the trenches!” The song is a nod to the band’s personal story – and to their belief in the power of music to effect change: “We use those words, see you in the trenches,” says Joe, “because the message of the band is about community – trying to make a difference.”

Does he think Maruja can make a difference?

“Yes. Music used to be a superpower – Marvin Gaye, Nina Simone, all these artists were speaking to the Black Power movement, and music was at the height of culture. The world is crying out, especially on the left, for people to build from a place of community. For years it’s been your solo artists, your Ed Sheerans – but to have a band, a community… We see it at the shows, the countless personal stories we’ve heard.”

Maruja don’t hide their political feelings at gigs, but they have to be increasingly subtle at US shows at the moment; in Washington recently, Harry spoke about a kakistocracy – being governed by those who are unfit to lead.

“We have to be careful about the way we put things, in order to reach as many people as possible. It’s strange when you have world leaders out there committing atrocities and there are no consequences at all! But if it’s harder to say stuff, it means it needs saying more than ever…

Their music, their very dynamics, speak loud enough: and the four-way friendship at the heart of the band is a metaphor for the kind of unity they’re seeking.

Matt and Harry studied music and performance together in Manchester, before Harry transferred to electronic music production. In their early days, Maruja sounded as funky as Parliament. Joe pushed it further into jazz territory when he brought his sax into the picture: his playing can bring to mind the mesmerising loops of Sufi music.

As for the jazz references, they have no training. It is more of an attitude, they say – a sense of possibility and freedom. “Jazz is having no boundaries,” says Harry, “and being completely free to express yourself. There is no formula, no rules. It comes from us loving what we do. We could improvise together all day and have the best day of our lives.”

“It’s about the energy of letting yourself go, something you can only achieve when you have been at it for prolonged hours,” Jacob adds. “You have to be really comfortable with one another emotionally so you can allow your unconscious to take over. We go into a trance-like state when we’re playing – an hour goes by, and you have no sense of time.”

“When we play, it’s always to do with getting things out that have been trapped in us,” says Harry. “Whether it’s war across the sea, relationships, society’s pressures – it’s always like you’re relieving some kind of pain. It’s about not being afraid of being vulnerable on stage, completely letting yourself go. People can see how free you are. I never felt as free in my life as I do on stage, jamming with the boys.”

“killer from front to back and I can’t wait for these guys to get into album mode….when these guys eventually go into full record mode, it’s going to be incredible” – Anthony Fantano

“will leave listeners breathless but begging for more” – DIY Magazine

Rose Betts

Sassy 009

Damien Dempsey

Official page for Damien Dempsey

Gurriers

Described by the Irish Times as “raw as a butcher's cut, and just as fresh”, Gurriers’ raging combination of punk, noise, alt-rock and shoegaze along with singer Dan Hoff’s intense socio-political lyricism, has been championed across specialist radio and press in the UK, Ireland and beyond. Cutting their teeth supporting acts like Enola Gay and Goat Girl, Gurriers have fast established themselves as one of the most furiously exciting bands to come out of Ireland these last few years. The intensely heavy groove of new single 'Des Goblin' erupted into being following a string of critically acclaimed singles the last year, the most recent 'Nausea' dubbed by DIY magazine 'a slice of unforgiving punk' which followed the release of 'Sign Of The Times' and 'Approachable'. The last year has been a riot with a stack of UK and Dutch club shows and a Summer full of festivals across Europe whilst Gurriers have since grown into a mesmerising tour de force on stage. Ahead of their packed shows at The Great Escape in May NME stated “You know something special is afoot when an act continues to sell out shows off the back of only two singles'

Moonchild Sanelly

Ryan Adams and the Cardinals

David Kitt

Soda Blonde

Following two successful introductory EPs (2019's “Terrible Hands” and 2020's “Isolation Content”), Soda Blonde released their debut album, “Small Talk”, in 2021. The LP was subsequently nominated for RTÉ’s Choice Music Prize for Album of the Year and received rave reviews from Paste Magazine, Atwood Magazine, and The Irish Times, who called it "a record so articulate and expressive that its title has to be a wry in-joke." Dream Big - the second studio album from Irish band Soda Blonde, is far more than a collection of catchy and cathartic pop songs; it’s a mantra – a mission statement from four lifelong friends. It’s their promise to themselves, and a message to all who come along for the ride: A reminder that life is precious, fragile, and fleeting, so we might as well dream big and hold nothing back. Press release © Mitch Mosk, 2023.

David Keenan

Itch

For Those I Love

Annie Mac

Sam Alfred

DJ/Producer

contact: scalfredd@gmail.com

Kean Kavanagh

Sophia Stel

Brògeal

Muireann Bradley

Hank

Seamus Fogarty

The New Eves

With an unusual lineup of cello, violin, flute, guitar, bass and drums, The News Eves DIY nature and fierce spirit seem to be conjuring some kind of folkloric punk revival. With a poetic honesty about who they are and what they love at the core, their rhythms are like galloping horses and were they on a mountaintop, their voices would ring for miles. Going to a New Eves show is like being complicit in some kind of ritualistic opening. They tear up rock and roll at its roots, expressing a journey through seance, strings and electric guitar. They’re a work of art to witness and a sensational climax to be felt.

The Orchestra (For Now)

A UK music group.

Gently Tender

King Kong Company

King Kong Company are a band with “21st century swagger” (Irish Times), whose “live shows are events, built from sweat soaked late-night electronic buzz and rumble” (Last Mixed Tape) & recently crowned the Best Irish Live Act (2016 Pure M Awards).

Jyoty