A dive into the sixth Florence + the Machine album, exploring women’s health, fairy tale tradition, and Florence Welch as a modern ‘conteuse’
Isabella Karmis outlines why we should all be listening to Latin funk-pop band Darumas in 2025.
“Hozier demonstrates his power to bend the Bible into a shape of love, forgiveness, and acceptance — all from the shape of the institution’s punishment, restriction, and critique” - Camille Bull explores the interpretation of religiosity of Hozier’s music.
Lexie Dykes reviews Elisabeth Leonskaja and the RSNO’s performance of Beethoven’s Emperor Concerto at Usher Hall in Edinburgh, conducted by Thomas Søndergård.
Rage has always been an intrinsic part of both the lives and of the music of the women who create it: Ayesha Ali explores the history and significance of music that women make when they are angry.
In another life,
you hold my hair back as I spill out onto the bathroom floor,
but in this one, I gripped the toilet sink with both hands
above the ground, with hands
and petals, bellies and stems,
she keeps an immortal beauty
from the obedience of the betrayal.
Your exhale escapes into the icy air, and you follow it with, ‘I’m so happy it’s winter.’
The smell outside is like home, we agree, like a New England November.
Words like these are ones I have never heard from you.
Moira Leventhal as Sasha (left), Lila Patterson as Izzy (left), Oliver Windham-Hughes as Justin (Right), Sophie Noelle Lynn as Hilary (right).
