On Thursday 4 December, fans gathered at Exhibition White City for what became a seismic arrival of Snow Strippers on UK soil. The venue filled rapidly, and as smoke flooded the stage, fans pushed closer, eager for the first hit of sound. Then, through the haze, they emerged, two shadows taking shape in the mist. The opening beats dropped, and the crowd erupted, pulled instantly into the duo’s mysterious, fog-filled, restless bass realm.

Anyone who has seen her perform knows that Molly Grace is already selling out arenas; she just hasn’t scheduled them yet. All it takes is a crisp mid-November night in San Francisco to prove this, where an effervescent performance tells the city that Molly Grace’s pop-funk reign is just beginning – and what a grand, undeniable entrance it is.

Japanese-Canadian artist Saya Gray returned to London with a spellbinding performance,  filling the cavernous Electric Brixton for the latest stop on her tour. Following the acclaim of her 2025 album SAYA, Gray continues to redefine the edges of experimental pop, her music a mesmerising blend of vulnerability, eccentricity, and sonic depth. On Tuesday night, the larger Brixton venue, over twice the size of Village Underground where we saw her play earlier this year, became a pulsating ecosystem of sound and emotion.

Australian indie rock band Spacey Jane took on o2 Academy Brixton for their biggest ever show beyond their home turf. Releasing their third album If That Makes Sense earlier this year, they are adored for providing fans with holy grail music for coming of age and dealing with adulthood. Formed in Fremantle in 2016, the band consists of vocalist and guitarist Caleb Harper, lead guitarist Ashton Harman-Le Cornu, bassist and back vocalist Peppa Lane and drummer Kieran Lama.

There are artists who perform, and there are artists who transform. Self Esteem is one of the most powerful examples of the latter. Oozing with empowerment and liberation, her performance at Bristol Beacon on Saturday night took live music to a new, visceral level.

Closing the festival, End Of The Road’s Sunday saw even more highlights, bringing together cathartic, mellow performances with dance-worthy sets that made for a perfect end to the weekend. 

Despite a slathering of rain, the Saturday of End Of The Road was a screaming success, featuring performances from some of the lineup’s best acts, big and small. 

Even after a rainy night, spirits remained high among eager festival goers at Dorset’s End Of The Road Festival, as the sun came out to welcome the first full day of music on Friday.

Kicking off the weekend, End Of The Road’s Thursday has set up this year’s festival to be one of its best editions yet.

Just for Fun’s single launch transformed the basement of Time, a Shoreditch barber shop, into a vibrant house-party vibe that perfectly matched the duo’s indie-electronic energy.

This year, new London multivenue festival Footsteps brought its first edition to a swathe of independent venues across London. Spread across five days in May, the festival was a glowing celebration of music, art and community.

Japanese-Canadian artist Saya Gray brought genre-defying artistry to London’s Village Underground for the final show of her sold-out European tour. The tour follows the success of her latest album ‘SAYA’, which was released in February this year, her music a restlessly compelling blur of uninhibited experimentation.

On a buzzing yet chilly Friday night in Bristol, fans had been lining up since the morning, eagerly awaiting West Midlands rising star Nieve Ella to take the stage at the sold-out Trinity Centre. Bringing the Watch It Ache and Bleed tour to a close, the room was packed with a mix of devoted fans and newcomers, instantly drawn in by her infectious energy and lyrics. The excitement was palpable from the moment fans entered the venue, and as the lights dimmed, it became clear the night would be a deafening time, with the floor vibrating under the weight of endless dancing.

Every now and then, the spotlight shines so brightly on an artist that it’s impossible to ignore. We saw it with The Last Dinner Party and their electrifying live shows that led to a highly-acclaimed debut last year. We saw it with Wet Leg and their tongue-in-cheek lyricisms and quirky aesthetic. On the penultimate night of tour, Luvcat brought an overwhelming buzz of excitement to Manchester’s Academy 3.

On the second night of their UK and EU tour, Kawala took over Phoenix for an intimate- but sold out- show with a poetically ordered, 19-song setlist bound to appease their supporters. The independent multi-art venue at the heart of Exeter was buzzing with bittersweet anticipation, with fans donning their merch and ready to hold up signs. Melbourne-based Teenage Dads opened the night with playful tunes and a cover of iconic throwback "Video Killed the Radio Star", capturing the attention of a new set of listeners. 

Last Saturday, CRESCENDO Magazine presented its first night of live music at north London venue The Finsbury.

After witnessing her punchy vocals and playfully chaotic energy on the London stop of Wolf’s Big Ideas tour, one thing is evident: Remi Wolf isn’t just a performer – she’s a force to be reckoned with.

With fans increasingly finding themselves offered up stale festival lineups, I have found myself veering away from your traditional festival settings and lured into the corners of some of my favourite venues yet again chasing lineups that actually get me excited. 

Last week, Dublin quartet Sprints took to London’s O2 Forum for their biggest headline show to date.

In the heart of bustling Borough Market, the streets buzz with Friday night energy, yet tucked away in the shadows lies one of London’s hidden gems: OMEARA.

Rising Nottingham quartet Divorce, whose music captivatingly straddles country, grunge, and indie-punk, took to Islington Assembly Hall last week for a night that was dripping with musical excellence. 

Balancing sensitive ballads with punchy expressions of ecstasy and pride, Tom Rasmussen is paving the way for a nuanced exploration of gender, relationships and existence as well as an unabashed musical revolution that always puts empowerment first.