Their new EP, Butterfly Wing in a Silver Locket, sees Sesame Girl leaning further into vulnerability than ever before. Inspired by the sentimentality of lockets, butterflies and the memories we hold onto, the record explores love, friendship, self-worth and the complicated emotions that come with wanting to feel seen and valued. Working with producer Simon Lam, the band gave themselves permission to embrace the sadness in their songs completely, allowing the instrumentation to carry just as much emotional weight as Heather Duncan’s deeply personal lyrics.

More than anything, though, Butterfly Wing in a Silver Locket is about connection. Whether celebrating the friends who show up when they’re needed most or finding comfort in discovering that someone else understands how you feel, the EP captures Sesame Girl at their most open and authentic. I caught up with Heather to chat about vulnerability, friendship, finding the band’s sound, creating space for emotion and what she hopes listeners will carry with them from this new chapter.

For anyone discovering Sesame Girl for the first time through this interview, how would you describe the band and what you’re all about?

“Well hi we’re Sesame Girl! I’d describe the band as quite soft with some more heavy and gazey elements, combined with some country instruments and pop inspired songwriting. It’s really such a melting pot of stuff, but I think that’s definitely a part of our uniqueness.”

Butterfly Wing in a Silver Locket feels incredibly personal, almost like opening a time capsule of memories and emotions. Was there ever a point where sharing that much of yourself felt daunting, or did it feel more freeing than anything else?

“It’s always pretty daunting to bear any part of yourself to strangers. I think the way that I find inspiration is mostly through my own sadness and shame, so if I’m inspired by something I wouldn’t necessarily share in my everyday life and that turns into a really good idea I know I have to run with it even if I’m scared. It’s not necessarily freeing, I’d like it to be, but it’s comforting getting to talk to people at shows who feel the same and knowing neither one of us is alone in that.”

Throughout the EP, there’s a real contrast between fragility and strength. Was that balance something you consciously set out to capture, or did it emerge naturally as the songs came together?

“I think the contrast of soft and heavy has always been something we’ve had to work with. We love heavy music and I have a very soft voice unfortunately. So I think we’ve almost just embodied that in our writing without too much thought. But I do think it’s kind of a blessing in some ways to have an inbuilt challenge that forces you to adapt creatively, it definitely makes our music more unique I reckon.”

Friendship plays such an important role on the record, particularly on ‘Superstar’. In a world where so many songs focus on romantic relationships, what made you want to celebrate platonic love in such an open and heartfelt way?

“Even just reading this question lowkey makes me a bit teary because we were going through such a tough time personally when we were writing the ep and we were staying with friends away from home in order to work with our producer Simon Lam in Melbourne, and the way they looked after us and cared for us just meant so much. So when we were in the studio I wanted to capture that feeling.”

You mention that this EP finally feels like the record you’ve been trying to make all along. What do you think clicked creatively this time that allowed Sesame Girl to find that sound?

“I think going through that really tough time while we were writing the ep really put a lot of stuff in perspective. We knew we couldn’t just keep making pop music to fit into people’s expectations of who we were as a band when it didn’t feel like what we wanted to do anymore. I think working with our producer Simon really helped us to create really genuine music and he was able to help us combine all our very sporadic influences into something really unique that represented how we’d changed as people and as artists. But we’ll always love pop music and it will always influence how we write for sure. I don’t think our new music will alienate anyone really, it’s very smooth listening.”

Your music blends dreamy textures with fuzzy guitars and moments of real emotional weight. How important is it for the instrumentation to tell the story alongside the lyrics?

“We’ve always written sad songs, but I think on this record the instrumentation is sad too. We really gave ourselves permission to be emo and our producer Simon is so good at not overdoing things and letting the emotions come to the front and centre, as opposed to one million guitar parts taking that space as we’ve done in the past. And I think having contrasting happy instrumentation and sad lyrics as we’ve done in the past is still really cool, but I think we wanted to see what it would be like to lean all the way into the emotion of the song with everything we could and I think it’s really powerful to do that.”

You’ve been building a reputation through your live shows and touring alongside bands like the Belair Lip Bombs. What do you hope people take away from seeing Sesame Girl perform live?

“I think as a live band we’re more interested in people having a good time than being super serious and showing off our chops. So we really hope people take away a really fun night where they enjoyed themselves.”

Finally, what do you hope listeners carry with them after spending time with Butterfly Wing in a Silver Locket?

“Of course we hope you love the record as much as we do! And you take that with you, but whatever stays with you and resonates is just as meaningful. The main take away I’d want anyone to have is that they’re not alone in those feelings, and to get a sense of belonging from that.”

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Their fourth album, Resurgence, marks an exciting new chapter. Exploring themes of isolation, self-doubt and emotional transformation, the record captures the fragile moment where despair begins to give way to strength. Alongside a willingness to experiment with fresh influences, including the nu metal-inspired single ‘Resurge’, the album showcases a band continuing to evolve while remaining true to the emotional core that has resonated with fans around the world.

Renowned for their powerful live performances and deeply personal songwriting, Future Palace have established themselves as one of the most exciting forces in modern alternative metal. I caught up with frontwoman Maria Lessing to chat about the inspiration behind Resurgence, embracing change, experimenting with their sound and the connection they share with audiences both on and off the stage.

For anyone discovering Future Palace for the first time here, how would you describe the band and what you’re all about?

“I would describe us as an authentic and emotional post hardcore /metalcore /alternative band who love using synths as well and writing hooky chorus lines. We have published 3 records about mental health and that will be followed by ou 4^th album now as well, so that is a very central topic for us, such as also other themes, that are not often talked about in the metal scene.”

Your fourth album, Resurgence, explores isolation, self-doubt and rebuilding yourself. What did creating this record teach you about yourselves, both individually and as a band?

“It taught me that I am capable of more than I told myself with our past album. After touring and being a bit burned out by trying our best to make this band our main income for like 8 years (and we still have some jobs on the side) you can lose energy and motivation and somehow also hope in yourself. I tried to regain energy, change systems, improve as a singer, artist and human and overall, we put our mental wellbeing as an almost number 1 focus now, because no matter how famous you get, if you’re unhappy, the fundament of the system will break at some point – and also what’s the point of doing something that doesn’t make you happy? I think this album just brought me a lot of joy for music and being in a band again”.

‘Resurge’ imagines what it would be like to completely start over and become a different person. Is that idea something you’ve personally wrestled with, or was it more of a creative concept?

“Completely. I had many doubts about myself and my life choices, especially with my career as a musician, since it also comes with a lot of challenges and sacrifices behind the scenes. I never had a plan B because music was always mit plan A and my full passion. When I realized that a goal and “obsession” won’t fix your problems, won’t automatically make you happy and feel like you “arrived” where you belong, my world shattered a bit. It was like a hard slap in the face. My life goal has changed from “I want to be a musician and live from it” to “yes that would be nice, but my life goal is being happy”. Though I still had my thoughts and questions about “what if”.”

Musically, ‘Resurge’ introduces some fresh nu metal influences to your sound. How much fun was it experimenting with new textures while still keeping that unmistakable Future Palace identity?

“When I listened to it when Manuel sent the first Demo of the instrumental, I was like: oh yeah, that will be fun live. I think Nu Metal is just a natural fit for us, we had some elements of it in our past songs already and we always have a strong 2000’s vibe in our music, so I think it just worked easy.”

The story from ‘Deep Blue’ continues into the ‘Resurge’ video. How important is visual storytelling to the world you’re building around your music?

“It carries the music completely. It was fun to have two songs so connected, we never did that before, the ideas alls came to me naturally and I love it when that happens, while brushing my teeth I just had the idea for the entire Resurge Video and how it could be connected to Deep Blue. I already thought about a potential Seuqel for Deep Blue after we shot the video. I always have visual on my mind while writing also.”

You’re known for balancing crushing heaviness with huge melodic moments. How do you decide when a song needs to hit hard and when it needs to give listeners a moment to breathe?

“That depends on the topic really. Also, Manuel writes the instrumentals and oftentimes sets the mood with that, but we had moments where we made a breakdown longer, changed the chords or the key entirely to make it heavier, depending on what topic I decide to write about. It’s always extremely important to me to get the listener as close as possible to the real feeling I had while writing. We also had songs where we cut out the screams and entire parts completely in the studio, because it just didn’t fit the energy in the end.”

You’ve built a reputation as an incredible live band, with sold-out shows and international touring. What do you hope people feel when they leave a Future Palace show?

“Future Palace Shows are supposed to be a safe space to just feel. Cry, sing, shout, mosh and hug each other. There are so little spaces in our world where we can truly be ourselves and feel without being judged. It’s a confrontation and a party at the same time. I want people to feel connected to their feelings when they leave our show. Of course, I also try to be a good singer but the best compliment will ever be, when someone opens up about how much they were touched by a speech or were able to cry to a song and release some stress.”

Finally, Resurgence is ultimately about finding strength after despair. What do you hope listeners take away from the album once they’ve experienced it from start to finish?

“That they can become much more than who they are right now. We have so much more potential inside of us and especially mental illnesses like depression try to talk us down and put us in a self-build cage. We can change every day and we can become better versions of ourselves. A Resurgence of ourselves.”

The post Getting To Know… Future Palace appeared first on She Makes Music.

Described as the clearest portrait of who she is today, the album finds carolesdaughter embracing vulnerability without losing the sharp wit and self-awareness that have become hallmarks of her songwriting. Across thirteen tracks, she examines everything from self-preservation and identity to the complexities of growing up, ultimately creating a record that feels both deeply introspective and universally relatable.

I caught up with carolesdaughter to chat about creating her most personal work to date, finding comfort through music, growing up in the spotlight and why You Can’t Spell Sweetheart Without Thea feels like the most authentic representation of who she is as an artist. Read the Q&A below.

For anyone discovering carolesdaughter for the first time here, how would you describe yourself as an artist and what you’re all about?

“I’m not really sure, I really hate putting myself in a box. I don’t really think you can tell people who you are, you just have to show them. One thing I will say is I feel like I’m everything but always the same inside/at the core.”

You’ve said that your upcoming new album You Can’t Spell Sweetheart Without Thea feels like the clearest portrait of who you are today. What makes this record different from everything you’ve released before?

“I really took my time with his record, and I think you can’t rush great things. I’m confident in saying that I think it is my best and greatest work since I started my career. It’s different because it’s original and imperfectly perfect in a very saturated and curated world.”

Your songs balance vulnerability with a really sharp sense of humour and self-awareness. Do those two sides of your personality naturally go hand in hand?

“Of course. I respect all kinds of artists, but for me-there isn’t a character for carolesdaughter. That’s kind of the whole point of my name in the sense that it references me in relation to my mother, making it clear I’m a real person with background and history. My identity as an artist is pretty much exactly who I am as a person, and it changes and grows with me.”

You found success at such a young age with ‘Violent’. Looking back now, how do you think you’ve grown both as an artist and as a person since then?

“I’m grateful that I had such a spontaneous drop into the music industry. I have only ever been blessed with opportunities and safety because of it, and has also given me the opportunity to create more art. I’m just extremely blessed and grateful. I’ve grown up from 17 to 23 as we all do. I’ve become more and more myself and am now creating with much more intention.”

‘The Invisible Man’ explores loneliness in a really thoughtful way. What inspired you to write about that feeling from the perspective you did?

“Yes, I tried to express myself in a way where there is a loneliness that is much deeper than being alone or single or something superficial like that. Feeling completely disconnected from others and chronically unfulfilled is something I struggle with, and sometimes life feels like a never-ending cycle of predictable events and performances.”

Growing up as the youngest of ten siblings is quite a unique experience. Has your family shaped the way you write songs or see the world?

“Of course. I was also raised extremely religious, and it affected my family and me in so many ways I couldn’t begin to list them, but ultimately it led to me having many very beautiful friendships.”

Finally, what do you hope listeners take away from You Can’t Spell Sweetheart Without Thea once they’ve spent some time with it?

“I hope it is something that comforts them that they can come back to whenever they need. Music is my comfort.”

The post Getting To Know… carolesdaughter appeared first on She Makes Music.

Their second album, The World Splits Open, arrives at a time when the band feel the world is “splitting open and collapsing on both a societal and ecological level”. Written during a period of immense personal and political upheaval, the record became a space for HAWXX to process their anger, find healing and explore what it means to resist, reconnect and reimagine the world around us. Across its ten tracks, themes of feminism, queer identity, community and hope sit alongside crushing riffs, ritualistic energy and moments of profound vulnerability.

Known for their electrifying live performances, HAWXX have also built a reputation for creating spaces where audiences can feel empowered, connected and free to be their most authentic selves. Ahead of the release of The World Splits Open, I caught up with the band to talk about catharsis, activism, the importance of emotional connection and why, even when the world feels like it’s falling apart, there is still hope to be found.

Hi guys! For anyone discovering HAWXX for the first time, how would you describe the band and what you’re all about?

“Feral, political punk metal. Rituals of rage and resistance.”

You’ve just released your second album, The World Splits Open. What does this record represent to you personally and creatively?

“Writing and recording this album has been an anchor in this last year, a place to embody our rage, to find our healing. The title comes from a lyric on the closing track of the album, ‘Be That Whore’. We made this music in a time of emergency where it felt like the world is splitting open and collapsing on both a societal and ecological level.

“How do we unlearn the systems that divide us? How can we tap into that pulse of belonging that exists in the natural world, calling us to new ways of being? To hear that song the earth is always singing, the song that splits the world open in revolution. These are the questions we are asking in this album.”

A lot of the album explores themes like resistance, feminism, queer identity and community. How important is it for HAWXX to use music as a platform to speak openly about those topics?

“At this point in time, HAWXX is a necessary vehicle for us to express our rage and tap into hope while it feels like the world is splitting open. It seems to be something that happens organically because these are the things that are burning inside us. We are so lucky to have this vessel to express ourselves through.”

HAWXX have built a reputation for being an incredibly powerful live band. What do you want people to feel when they come to one of your shows?

“HAWXX has given us permission to be our most unlocked and feral selves. It’s given us a space to be brave and expressive, to speak our minds and not hold back. We want to give the same to people that come to our shows. It’s so important to us to transform what a metal show means. We all grew up going to metal shows and know in our bones how important it is to carve out a brave space for women and queer people at the front.”

Your live performances seem to carry the same intensity and passion as the themes in your music. How important is that emotional connection with the audience when you’re on stage?

“The emotional connection on stage is everything, it’s what makes being in a band these days worth it. We are being bombarded with AI slop and bots. The never ending cost of living crisis makes touring financially unsustainable for artists as well as affecting disposable cash available for tickets. There’s a real danger of reduction to the live music experience for venues, artists and audiences.  To be able to get on stage and connect so deeply with people at our live shows reminds us why we do it and is hopefully is the antidote to AI slop for our audience. In our shows, our bond with the audience creates this small beautiful universe where things feel possible and alive.”

‘Resistance Is Justified’ is such a powerful and politically-charged track. Was it emotionally difficult writing something inspired by such a personal and real situation?

“It was definitely an intense process writing this song. There was a powerful driving force behind it, this song had to be born. It was ultimately really healing to write and I got to play it on the phone to my friend Jordan (who it’s about) while he was in his prison cell ,the night before his trial. I then performed the song outside the courthouse during the trial back in January. The song took on a path of its own once we wrote it and found it’s rightful place beyond the world of music and out on the streets.”

Finally, what are you most excited for people to experience now The World Splits Open is finally out in the world?

“We are excited for people to experience catharsis the same way we have writing these songs. We also want people to feel hope, to be driven to find how they can split their own world open and to reconnect with the power of nature. And we’re on tour in the UK in September and October – come experience it with us live!”

You heard the girls – go and get yourself a ticket now!

The post Getting To Know… HAWXX appeared first on She Makes Music.

Their recent singles, ‘Jewel Case’ and ‘Cringeworthy’, offer an exciting glimpse into the band’s next chapter. While ‘Jewel Case’ finally gives a long-time live favourite the studio treatment it deserves, ‘Cringeworthy’ turns emotional honesty into a rallying cry, exploring themes of shame, self-acceptance and personal growth with the band’s trademark wit and charm. Together, the tracks showcase Hayley and the Crushers at their most vulnerable, self-aware and unapologetically fun.

With a new album on the horizon and a reputation as one of punk’s most magnetic live acts, there’s plenty to be excited about in the Crushers’ world right now. I caught up with frontwoman Hayley Crusher Cain to chat about the band’s evolution, the stories behind the new music and what fans can expect from this latest era of Hayley and the Crushers.

Hi Hayley! For anyone discovering Hayley and the Crushers for the first time, how would you describe the band and the world you’ve created around it?

“Poolside Glitter Punk – all the fun stuff you’d find at the bottom of the pool after a really wicked party. It’s a little rock n roll, a little 80s new wave, always some sunny, beachy fun. The subject matter is hopefully enlightening, if not a tad cheeky. The Crusherverse is a portal to a colorful, joyfully chaotic world where anything can happen, and often does.”

Both your recent singles ‘Jewel Case’ and ‘Cringeworthy’ balance chaos, vulnerability and humour so perfectly. Do you feel more comfortable being emotionally honest in your songwriting now than when the band first started?

“Since I was a nine years old, journaling every day and reading Harriet the Spy, I have always considered myself a writer. Around the same time, I learned guitar, so songwriting became a way to anchor my experience and express what so often feels so unexpressable. When the band first started out, I still was trying to figure out how to write for the heart and the dance floor, if that makes sense. When it comes to crafting a song that hits someone in the gut, something people want to laugh (or cry) to, or call their best friend and confess their deepest darkest secrets, or just feel totally free to lose themselves in the moment, you have to think about so much more that just what you’re personally trying to say. It’s this process of going deep into the guts of the song, then zooming all the way to see the structure. You get 2 minutes and 30 seconds to transport someone, so how do you do that? Over the years I do think I’ve gotten better at answering this question, and trusting myself when it comes to songwriting, editing and execution. So if it seems like vulnerability is showing up more, I think that’s due to better songwriting all around. The vulnerability was always there, it just wasn’t always always getting across as effectively.”

‘Cringeworthy’ feels like a real celebration of letting go of shame and not caring about looking “cool” all the time. Was writing that song cathartic for you in any way?

“Totally. Shame is something we toss around from person to person (or generation to generation) like a hot potato. No one wants to hold it. The easiest modern example is when someone online calls someone else out for being “cringe.” This says so much about the judgmental party, not the person doing the so-called “cringe” thing. “Cringeworthy” is about when you finally look down and realize you’ve been holding someone else’s proverbial hot potato of shame, and realizing it’s OK to simply put it down and get on with your life. We all come to a place when we realize that not all of our baggage is our own. I am in that phase, and it feels really freeing and exciting.”

‘Jewel Case’ has been part of your live shows for years before finally getting a proper studio recording. Why did now feel like the right time to officially release it?

“’Jewel Case’ is one of my all-time favorite songs: always a favorite to play live, to close out the night. But now it’s a favorite studio track, too, and that feels so satisfying to know we finally gave it the love it deserves. It’s a real “party song” about how hard-partying can go totally awry, which I think is pretty funny, and very us. My D.A.R.E. officer would have loved it. Music is a hell of a drug. I’m stoked people are digging it and the video too.”

Your live shows have this reputation for being sweaty, chaotic and completely unpredictable. What do you want people to feel when they leave a Hayley and the Crushers show?

“It sounds cheesy, like I’m Richard Simmons or something, but I want audiences to feel like they can embody their larger selves, step into power and be joyful out loud, together.  Regardless of what the world throws at any of us, we always have this choice to grow or shrink. Music, all art, can help us get to the other side of life’s potholes. The fans who have stayed with the band have really grown with us over all these years. We have scars. But we also aren’t afraid of a fun hook or a little glitter or looking dumb to boring people. Our listeners always have a certain glimmer in their eye. They’re funny and smart and relish the chance to really let it all hang out. They understand you only live once. In a word, they are true Crushers!”

A lot of your recent material seems to explore burnout, identity, emotional baggage and modern disconnection, but always in this really vibrant, energetic way. How do you balance heavier themes with that sense of fun?

“Girls just wanna have fun. But seriously: People who present as “fun” and “colorful” usually do it from a place of needing that medicine first. Mary Poppins needed her own spoonful of sugar to really share that sweetness with the children, you know? I live with a lot of existential dread, intense feelings of anxiety/sadness and overwhelm in my own life. When I put on a hot pink catsuit and write a super bouncy pop song with a sweet ass riff, I am doing that for my own dopamine levels first. I truly need that medicine injected straight into my veins, stat. When an artist is living from a place of vibrancy, that light can illuminate others in new and interesting ways. I think this is the magic salve of music and art. Artists have lit my path for years, so this is my way of getting to do that for someone else, while we both digest those hard-to-deal-with topics. I’m grateful I get to do this.”

Finally, with a new album on the way this summer, what can fans expect from this next era of Hayley and the Crushers?

“The word that comes to mind is POWER! Like when Batman beats up the bad guy: Pow! Bomp! Crush! We tried not to overthink the songs or production and really just trust our gut as we continue to blend our basement Detroit sessions with the amazing resources we have to play with thanks to Josie Cotton, our LA with producers John Miller, Paul Roessler and Kitten Robot Records as a whole. We continue to be a band that’s too punk for pop and too pop for punk. So now we say, “let them eat glitter!”

The post Getting To Know… Hayley and the Crushers appeared first on She Makes Music.

The record blends glossy pop nostalgia, club-ready energy, hyperpop experimentation and emotional escapism into a cohesive world that’s unmistakably LIZ. Alongside the album arrives focus track ‘Jus Wanna’, a euphoric late-night house anthem produced with longtime collaborator Jimmy Harry and Dutch DJ FS Green. Drawing inspiration from house, UK garage and Y2K pop, the track perfectly captures the album’s vibrant, futuristic spirit.

Across a career spanning more than a decade, LIZ has consistently blurred the lines between bubblegum pop, R&B, dance music and avant-garde electronic production, earning admiration from the likes of Pharrell Williams, SOPHIE, Charli XCX, Diplo and Kim Petras. With Prototype, she’s celebrating artistic conviction, creative persistence and the power of staying true to your vision long before the rest of the world catches up.

We caught up with LIZ to chat about the new album, Y2K aesthetics, working with some of pop’s most innovative creatives and what’s next on the horizon. Read the Q&A below.

Hi LIZ! How are you? I’ve been a huge fan since near enough the beginning of your career – I had ‘Pandemonium’ on repeat when it came out and it’s still one of my all-time favourite sing-along anthems! Looking back, how has your journey as an artist been so far? What have been some of the highlights and challenges?

“Ah, ‘Pandemonium’! That song was actually a bold release for me. It was a totally unapologetic pop song that had no elements of the underground whatsoever. It’s almost punk in that way. Sarah Hudson is a beast of a songwriter.

“My journey as an artist has definitely had its ups and downs, but I can honestly say I’m proud of everything I’ve released. Each project represents a different era of my life and the scenes I’ve been a part of.

“Some major highlights have been working with Pharrell and SOPHIE – two incredibly kind, visionary and almost alien-like talents. One of the biggest challenges was the pandemic. I’d just released Planet Y2K and had booked an international tour for 2020 and 2021, only for everything to be cancelled. Of course, so many artists went through the same thing, but it was still a difficult moment.”

I absolutely adore your Y2K hyperpop aesthetic. Where do you draw inspiration from when it comes to your visual identity?

“For this album cycle, we wanted to lean into something a little more high-fashion and feminine. We looked at early-2000s Dior campaigns and played around with sensory textures like silicone, silk and glass.

“Of course, there’s always a little Britney and Zenon: Girl of the 21st Century mixed in there too.”

You’ve just released your new album Prototype. What are the songs on the record about, what does the album mean to you, and what do you hope listeners take away from it?

“Prototype is equal parts vulnerable, cheeky, sexy and sweet.

“There’s a lot of love and desire woven throughout the record, including some unrequited feelings that can transport you right back to emotions you probably felt most intensely in high school.

“I’d love listeners to reconnect with their inner nostalgic teen and embrace the anxious dreamer who gets lost in fantasy and daydreams.”

Can you take us through the songwriting and creative process behind the album? What was your favourite part of making it and what did you find most challenging?

“These songs were written over the course of several years. Some tracks didn’t make the final cut, but I feel these ten songs create a really cohesive body of work.

“World-building has always been incredibly important to me, and developing the creative direction alongside James Orlando was magical as always. We built mood boards, collected fashion references and developed the visual world at the same time as the music.

“I especially cherish all the days and nights spent working in Jimmy Harry’s studio in the Hollywood Hills while we slowly pieced this project together. He truly sees me as an artist and cares deeply about what I do, and I’m incredibly lucky to have him in my corner.”

You’ve collaborated with some incredible artists throughout your career, including the legendary SOPHIE. What have you learned from those experiences, and who would you love to work with in the future?

“My collaborators have taught me to trust that my ideas are valid and to follow my instincts.

“I remember the first time I was in the studio with Charli. She would freestyle melodies straight into the room mic without overthinking anything. Watching her work gave me the confidence to do the same, regardless of who’s in the room.

“JC Chasez approaches lyrics in a similar way. He’ll throw out rhymes and ideas for hours without worrying whether they sound silly or random. You never know what’s going to spark a great concept.

“I’d love to make a Miami Freestyle EP one day, so anyone who’s interested in that should definitely hit me up.”

Finally, what’s next for you? Do you have any upcoming shows, projects outside of music or anything else you’d like to share?

“I’ve been writing music for TV, film and advertising, and I also have a side project called Gold Punch that I’ll be releasing soon.

“Lately I’ve really enjoyed writing demos for K-pop artists too. At heart, I just love being in the studio and creating music.

The post Getting To Know… LIZ appeared first on She Makes Music.

With Our World, sisters Nyrobi (21) and Chaya (18) Beckett-Messam continue their rapid rise, delivering a confident and fully realised body of work that fans have been eagerly awaiting. Across the EP, the duo expand on the explosive blend of rock, pop and EDM that has become synonymous with ALT BLK ERA, pushing their sound further while retaining the raw energy and sharp songwriting that first set them apart.

Songwriters, producers, and the creative visionaries behind both their music and visual world, Nyrobi and Chaya have built a reputation for crafting something greater than the sum of its influences. Characterised by heavy basslines, distorted guitars, punchy electronic production and vivid storytelling, their music is driven by the powerful contrast between their yin-and-yang vocal styles.

Beyond their music, ALT BLK ERA are passionate advocates for hidden disability awareness and inclusivity in the music industry. Nyrobi, who lives with ME/CFS, is working closely with BBC Introducing to help provide safe backstage spaces for artists with disabilities at festivals – a mission inspired by her personal journey and one that continues to inform the duo’s creative world.

We had a chat with the girls all about Our World, their creative process, live show and more. Read the full Q&A below.

Hi guys! How are you?

“We’re really well thank you! We’re all buzzing at the moment because our tour starts in a few days, along with the drop of our new EP!!!”

ALT BLK ERA has really blown up since your breakout debut album Rave Immortal last year. That must be so exciting!

“It’s been an incredible year for us! Rave Immortal was an incredibly personal story about hidden disability that we nestled into some of the fiercest drum beats and guitar riffs. We wanted the message to hit for those who know us well and we wanted the music to feel good for those who first find us. So I guess the overall highlight was that an album about hidden disability was received so well.

“There are also stand out moments – a No.1 in the rock and Metal album charts, a MOBO win for best Alternative Music Act. We also played ‘My Drummer’s Girlfriend’ live on Later… with Jools Holland and had a TV appearance on Sunday Brunch. We were also the main support for Pendulum on their UK and EU tour which was out of this world!

“And there’s also our advocacy work has been a big one for us. We’ve been working closely with BBC Introducing to make their festival spaces more accessible for artists. That was rolled out last year at Glastonbury and the work is continuing this year too.”

I saw you guys support Delilah Bon at The Bodega back in 2022 and it’s so brilliant to see how far you’ve come!

“Oh wow! That was a great show!!! Delilah Bon was so supportive of us when we were starting out and we were thrilled when she asked us to collaborate with her on ‘Witch’. That track has so many powerful messages sitting within it too. Delilah Bon is a great activist.”

What can you tell us about Our World?

“Well, we were actually in the middle of writing our second album which is a continuation of the Rave Immortal story, but we needed to stop and address how we were feeling about the world events that are happening around us. Our World is another story and charts our emotions as we try to process all of the hate and exploitation that we are seeing on a daily basis. We don’t want to become numb to it and we don’t want to accept it as our new normal. Our World is about processing that and reclaiming our world for how it should be.”

You’re exploring more of the rock and EDM sounds – what has been your inspiration sonically?

“Rock music sits behind most of what we do but we weren’t brought up listening to rock music so we bring in the other genres that we love into our sound – Rap, DnB, alt pop and this EP we went more with the EDM vibes. We used to get a lot of backlash because we crossed genres so much but we don’t believe there has to be strict borders between music where we have to fit into other people’s boxes. We make music that makes sense to us and we find fans of our music because it makes sense to them.

“For the harder music, Prodigy is a massive influence for us. We make music to move people like they do in the crowd. We love how all ages, races, different music genre lovers come together under their banner. That’s what we love to see at our shows.”

What do you hope fans/listeners take away from it?

“For this EP we hope they enjoy the music first. We’ve actually been surprised by how many Metal Heads love our track ‘Okay! Cyber Racing’. We then want them to hear the message which is about feeling the overwhelm of this world and then coming together as a community to shape what we want. We’re the resistance even when we feel helpless.”

Please take us through your songwriting/creative process for Our World. What was your favourite part and what did you find most challenging?

“Our World was like a release for us. We had to pause work on our second album because we couldn’t just ignore what is happening without commenting through our art. Writing music isn’t a challenge at all for us but everything that comes around putting music out can be. There are so many moving parts so the business becomes the challenge. Writing and creating is beautiful for us. The dream would be to create all day and everyday.”

You also have a headline tour planned for the album. What can someone expect from an ALT BLK ERA show?

“Expect an energy that will have you swaying and singing along to some songs and moshing hard to others. We’ve just been in band rehearsals and we’re buzzing for this tour! We’re really looking forward to seeing our fans who have been supporting us from the start and we’re looking forward to meeting new people and seeing new faces.”

How do you want fans to feel after leaving one of your gigs?

“We want them to feel like they’ve had an experience that has brought them closer to us and to others in the room.”

Finally, what’s next for Alt Blk Era? Any goals for the future or anything else you want to share?

“So many plaaaaannnnnss! You’ll have to keep connected with us because for now we’re totally focused on giving our best for the Our World EP and tour – xx”

The post Getting To Know… ALT BLK ERA appeared first on She Makes Music.

The band (vocalist/bassist Kel, guitarist Giz and drummer Steve) recorded their debut LP, Unfolding, with Gggarth Richardson (RATM, Biffy Clyro, Melvins) in Vancouver, Canada, followed by a trio of 7-inches on Punk Fox records, including the critically acclaimed ‘When The Cloud Explodes’. Their second album, Imploding, was produced by Morton Kong at Eve, Stockport.

‘When We Gonna Run?,’ produced by Matt Peel (Eagulls, Dream Wife, PABH), was released in November 2025, followed by ‘Death On Our Side’ (a song about dying before you need a pension) in January 2026. ‘A Feminine Ending,’ a critique of the anti-ageing industry and a celebration of averting the male gaze, is their newest single out now.

“One day, you start to disappear.” ‘A Feminine Ending’ opens with a comment on the idea that women ‘disappear’ from the male gaze as they age, but rather than framing this as a bad thing, the song celebrates it. “Oh, what a relief, the beauty trap released”

The song continues into a critique of the patriarchy, aided and abetted by the beauty industry, in particular the anti-ageing racket. A hugely profitable sector that puts untold pressure on women to be ‘attractive’ and remain forever young. It is a pervasive and sinister message which begins in childhood. When you stop engaging with that rhetoric, you become free. “We’re under the filter / pumped full of filler”

Women’s voices need to be louder than ever in 2026. Decades of progress driven by the feminist movement are in danger of being rapidly undone in a world of out-of-control male egos. Many young women are rejecting traditional ideals of womanhood and averting the male gaze.

In light of recent horrific news items such as the deeply traumatic Epstein Files, and the use of AI to objectify and abuse women online with no concern for consent (or morality), it’s more significant than ever to criticise the pervasive and deeply concerning message that only young women are attractive, desirable, or of any value whatsoever.

We had a chat with Kel all about the making of ‘A Feminine Ending,’ the struggles of being part of the music industry, their live show and more. Read the Q&A below.

Hi Kel! For anyone discovering The Empty Page here for the first time, please give us a brief introduction to the band, your influences and mission!

“We’re an anxious alt punk band who write about all kinds of issues relating to the human condition and society’s ills. Music is therapy for us, and I think it is for our fans, too. We want to write songs for the sake of art, catharsis, and connection; everything else is bullshit.”

You’ve just released your new single ‘A Feminine Ending’ which is about rejecting beauty standards and the expectations placed on women in a world dictated largely by the whims of problematic men. Was there anything in particular that sparked the inspiration to write this song? What was the creative process like?

“It’s hard to pinpoint an exact catalyst for any song. I write almost every day and then pick out lines here and there that work as a starting point for songs. I think the first few lines were something I had noted down because I had heard people talking about how women ‘disappear’ as they age, like it’s a bad thing. But I thought, ‘what a relief’ to have an invisibility cloak and finally be able to just get on with things without my femininity being pointed out constantly.

“A musical idea Giz had shown me felt like it could work with the vibe I had, and it did. We had half a song for like, years, as we were busy finishing our album, and this song wasn’t ready. It was one of the first we worked on in the rehearsal room once we found our permanent new drummer, Steve. I like the almost hypnotic nature of it.

“The second half came from an idea I had inspired by a Veruca Salt song (25). I then tried to channel a combination of Patti Smith, Kat Bjelland and Eugene Robinson for the vocal build. I put the words together from a huge amount of angry, scrappy notes. It’s weird how it all works out in the end, but it comes from chaos a lot of the time.”

Throughout the decade you’ve been in a band and part of the punk scene, what would you say have been the biggest challenges you’ve faced as a female musician and how have you overcome them?

“To be honest, the challenges are largely the same, being in an independent band, whether you’re a bloke or a woman. It’s hard either way, but we have to deal with misogyny around every corner on top of that. It’s a really tough industry because musicians make no money, so it’s almost impossible to give up your day job. I quite like my day job, but it interferes with being able to say yes to opportunities, so it’s a constant battle between paying your bills and chasing your dreams. Dreams you have sacrificed almost everything for. I’m not sure I have overcome most of these challenges, but I love being an artist and will do this til the day I die, no matter how hard it is. I can’t live without it.”

You have a few gigs and festival appearances coming up. What can someone expect from a The Empty Page show? How do you want fans to feel after leaving one of your gigs?

“I want you to feel wrung out like a damp flannel – in a good way. I want to make you uncomfortable. Tingly. Euphoric. Overwhelmed with emotion. I want to make you cry. But I want you to feel better afterwards. We really give it our all. A lot of people comment on the emotional weight we punch out in a live environment. And the energy too. It’s a big ole anxiety party.”

Finally, what’s next for The Empty Page? Any plans for a new EP/album? Goals for the future or anything else you want to share?

“We’re currently making tour plans, and after releasing three singles in five months, we’re feeling pretty accomplished, but we are working on new songs too and hoping to get back in the studio asap.”

Upcoming dates:

25 Mar LONDON Blue Posts Soho

3 May SHREWSBURY Loopfest

20 May LIVERPOOL Kazimier Stockroom (w/Charlie Houston)

7 Aug BLACKPOOL – Scream + Shake Rebellion Fringe gig

More TBC!

The post Getting To Know… The Empty Page appeared first on She Makes Music.

The arrival of this new collection marks a new touchstone for the Sydney-based indie-pop duo, as they have spent the last year working relentlessly on new music while touring their acclaimed second studio album, That’s Life, Baby!

Like An Actress continues to chart the course of Foley’s previous work, bolstering their catalogue with music that speaks to Ash Wallace and Gabe Everett’s ever-expanding realm of influences and sounds. Featuring singles ‘Cinematic’ and ‘Honey’, the record shines with charisma and personality.

Recorded across Australia and Aotearoa with collaborators including Josh Naley (also known as the artist Wells*, producer for others including Navvy and Paige), the duo explains that creating Like An Actress was a process that was instantly organic. Pouring into their in-studio environment, using visuals on screen that pulled from ‘90s and ‘00s romcoms, Foley were able to get into sonic palette of this project with ease.

Thematically, Like An Actress navigates observations on identity, love, loss and the complex nature of relationships with others and with oneself (‘Suckerpunch’, ‘Going Easy’).

For those who have been on the ride with Foley since their early days, this is the type of record that will land with added emotional weight – a graduation in a style and presentation from this talented pair of songwriters. For newcomers, a perfect gateway to one of the best music discoveries of 2026.

We had a chat with the duo all about the making of Like An Actress, their live show and more. Read the Q&A below.

Hi guys! You have been releasing music as a duo since 2017 but it’s within the last year or so that you guys have really started gaining momentum. That must be so exciting! What has that journey been like? Any personal highlights?

“We have been really lucky to grow slowly and learn a lot along the way – it’s meant that we’ve grown our community, our fans, and our appreciation for the music scene in a sustainable way which I am so grateful for. In the last year we toured around South Korea, Australia, New Zealand and that has been SUCH a highlight – especially South Korea because it felt completely new to us and beyond our wildest dreams for people there to love our music. “

You’ve just released your new EP Like An Actress. What can you tell us about the record? What do you hope fans/listeners take away from it?

“This EP is much more of a love story than our previous projects – we’re always written about friendship, love, loss, and everything you experience in your 20s – but this project is the most love and relationship focused so far. We hope that our listeners get more of a feeling of hope and excitement from this record, because it was born from a time in both of our lives that was full of adoration – we each met the love of our lives and captured that time in this EP. “

Please take us through your songwriting/creative process for Like An Actress. How does it compare to your previous releases? What was your favourite part?

“We wrote a few of these songs in Sydney with the wonderful Nico and Max from Loretta, and a few of the songs in New Zealand with our long time collaborator Josh Naley. The combination of working with those 3 people was totally new which made for new sounds and explorations – and a super exciting dynamic!

“Our favourite moments are always in the studio, laughing and enjoying each other’s company. When we write music we have to be really open and honest with each other about what’s going on in our lives, so you get close really quickly as friends. It means the studio is a creative space but also a really warm and fun space – so my favourite moments always live there. When we wrote ‘Breakfast For Dinner’ from the EP we had an image from ‘Dawsons Creek’ on the screen in the room because we wanted the song to feel like it soundtracked that show. It made for a lot of giggles that day!”

As mentioned earlier, you toured New Zealand, Australia and Korea last year. Where do you hope to go next? Any plans to come to the UK? What can someone who has never seen the band live expect from a Foley show?

“We are hoping to head back to all 3 places this year to play the new music and see our fans again! Certainly want to come to the UK – we have so many friends and family living there so it’s high time we put on a good show! The Foley show is high energy, raw, dramatic, and big. We have a lot of fun on stage, we have the audience as involved with the show as we can, and we keep things in the moment. Live music is all about leaving your life behind for a few hours and being connected to the people around you, so that is the goal always.”

Finally, what else is next for Foley? Any goals for the future or anything else you want to share?

“We are constantly working on new music, new videos, and new shows – so much more to come and we can’t wait to meet more pop music lovers on our journey.”

The post Getting To Know… Foley appeared first on She Makes Music.

The band have also shared the video for’12 Crosses’ saying, “’12 Crosses’ is emblematic of the themes of the album Wounds. What you carry on your back can make you stronger. To share the weight and purge in a cleansing fire is liberation. Filmed at House of the Holy festival on the Summer Solstice. A transcendental experience of ancient rites and sonic celebration. Burn brightly, so gently, send your soul towards the night. Burn quietly, burn lightly, send the warning to the sky.’

Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine.

Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a long time collaborator of the band. His work weaves icy and atmospheric textures into the songs, layering complexity that demands repeat listens. The horns on ‘12 Crosses’ were recorded by a high profile jazz musician who appears anonymously due to label ties.

We had a chat with frontwoman Maya all about Cold In Berlin’s journey so far, the making of Wounds, their live shows and more. Read the Q&A below.

Hi Maya! How are you? Cold In Berlin was formed back in 2010, how has your journey as a band been so far over the last 15 years? Any highlights?

“Hi! I’m great thanks! CiB has been such an important part of my life, I am so grateful to have a creative outlet and a group of people who actually want to do that with me. By some twist of fate, we all found each other, we all get on and trust each other enough to make music together. Like all creative endeavors, it is beautiful, weird, exciting, intense, stressful and a miracle when it all comes together. The challenge is to keep making albums that you find interesting, which do something different each time, but also retain the essential thing that makes CiB what it is. The highlights for me are always live shows, performing for the fans and hearing the songs in a room full of like-minded people is excellent.”

You’ve just released your fifth LP Wounds which is also your first new album in six years. What can you tell us about the record (themes, influences)? What do you hope fans/listeners take away from it?

“Wounds is an expression of grief, love, loss- the trauma we carry that makes us stronger and stranger. I wanted to provide different ‘wounds’ as songs with strong female characters or from a female perspective. The idea was to examine the joy of survival as well as the pain, the way ‘wounds’ can connect people which is what music does for me. I think this will resonate with anyone listening, fans will find their own stories in the songs and hopefully listeners will enjoy the album as a whole piece. I draw inspiration from everywhere really, theatre, books, TV, a story someone tells me and of course, things I have experienced and been through myself , but I find it more interesting to have lyrical themes with hooks that people can hang their own ideas on too.”

Please take us through your songwriting/creative process for Wounds. How did it compare to your previous albums? What was your favourite part?

“For me, although we wanted the finished album to be quite different from Rituals the process was the same. We all bring different things to practice and then the song grows in the room, I like to write songs and poetry at home and usually, this can work with an initial idea for a bass or guitar part. It is exciting because each song can start very far away from where they finish up and sometimes, I think the song leads me somewhere instead of the other way round. There is a strange chemistry in the rehearsal room.”

We see you have a few gigs coming up in November plus more in the new year. What can someone who has never seen the band live expect from a Cold In Berlin show? How do you want fans to feel after leaving one of your gigs?

“If you come to see us live, I think you will have a great time. Our live performances are loud, heavy and lots of fun. I love to stalk the stage and go into the audience if I can. Both elements are important to me- getting an album right and having a live show that does something different to what you get on the album- an experience. Women on stage can have lots of prejudgments made about them, but the alternative music scene has less issues with this I think- there is no real blueprint so I don’t feel the need to ‘be anything’ in particular on stage, I am just Maya Berlin.”

Finally, what else is next for Cold In Berlin? Any goals for the future or anything else you want to share?

“We have a project for the new year, a few songs that are really interesting which I am really looking forward to sharing with everyone. After that, I hope we are busy with shows.”

The post Getting To Know… Cold In Berlin appeared first on She Makes Music.