Exhausted by the “red tape” that defines the boundaries of the creative industry, Nikita Dare has carved out a space beyond them. Her new festival, SISTALAND – set to debut November 11–12 – is imagined as something far more radical than another networking event. Dare describes it as a “coven-like” space where “passionate people can learn from each other in an ego-free manner,” a necessary step, she argues, towards dismantling the “one-upmanship” and “gatekeeping” that stifle genuine connection and collective growth.

Napa are a band shaped as much by their island roots as by their unlikely mix of backgrounds. Guitarist Francisco Sousa, once a computer science student; bassist Diogo Góis, trained in electronic engineering; drummer João Rodrigues, studied audiovisuals and multimedia; vocalist-guitarist João Guilherme Gomes, who comes from a business and management path; and the group’s youngest member, pianist João Lourenço Gomes is still finishing his studies.

The indie-rock five-piece - Dillon Basse (vocals, guitar), Tristan Duncan (lead guitar), Mitch Fountain (synth, guitar), Madeline Jarman (bass), and Devon VonBalson (drums) - have come a long way from college house shows. They’ve carved out their own path through festivals and late-night TV, and now they’re set to light up The Fleece on 13th November.

Flyte’s music feels like stepping into a space alive with quiet energy, reflection, and purpose. In August 2025, the indie folk duo (Nick Hill and Will Taylor) released Between You and Me, an album that captures both the spontaneity of life’s small moments and the weight of its larger reckonings. Its songs move effortlessly between intimacy and exuberance, offering listeners a glimpse into the personal landscapes of its creators.

Lorenza Marino describes herself as a ‘citizen of the world’ and her debut single ‘La Melodie’ epitomises that completely. Born in East London, the Italian Zambian singer-songwriter is an emerging independent artist with influences coming from all over the world. Her debut is a confident mission statement - Lorenza is here to weave together different genres and cultures in unexpected and beautiful ways. And I’m here for it! 

I’m always excited to explore new music and meet new artists, but when I got the opportunity to talk to Rosemary Wylde — someone who is creating her own path for her music without the use of social media — I jumped at the chance.  I recently chatted with her about her upcoming second single “Raise Up Your Banner”, her upcoming album “Peace Revue”, and about growing up on the London protest scene. 

Sitting down with Marlon Williams, at this point in his career, feels like entering the very ‘whare’ he has built with  (The Messy House), a space alive with introspection, warmth, and spirit. For the New Zealand born singer-songwriter, his fourth album marks not only a musical return to form but also a deeply personal reconnection to language, ancestry, and identity. As his tour brings this radiant body of work to audiences around the world, Marlon opens up about the power of language, and the creative journey that led him here: one shaped by solitude and community, tradition and experimentation, grief and joy.

Rising South London rapper Liam Mera Kai released his debut EP It’s Fine Once You’re In on May 29th which was a masterful blend of heartfelt vocals and a bouncy rap flow. The six track EP was born out of vulnerability, self-doubt, and exploration, birthing an honest yet entertaining record.

In this conversation - despite the context and an ongoing discussions on mental health, overcoming natural human emotions and dealing with adult life – it was somewhat refreshing to speak to an artist who has taken on a new beginning with pure honesty and an esteemed level of music intelligence.

Emotions have become commonplace on dancefloors but often states of ecstasy on top of high tempo drops. This artist is on a mission to show a different side of emotions; surrealism, nostalgia and poignance. With another two tracks to add to his electronic catalogue of feelings, we had the pleasure of getting ten insights into what makes him tick.

Out of all the artists I have interviewed, Luna Kali has, by far, been the richest and most enjoyable conversation. An artist who has recently released a debut EP – The Colour I Am, played in numerous jams and bands and is a really familiar face in the Bristol music scene. The remarkable thing about the Angolan-Cape Verdean artist, beyond her talents, is the vulnerability she showcases. Not just in her music, but as you’re about to find out, in conversation and through her everyday actions.

Captain Morgan, yes the rum company, and Foundation FM, a finger-on-the-pulse online store, have come together to create the ultimate, and most unexpected, night out. They’re turning a Bristol Uni lecture hall into the place to be on June 19th, with UK singer-producer-superstar Shanti Celeste going B2B with the icon that is the Canadian DJ, Peach, alongside support from Foundation FM Resident, ELLAWEEEZ. That’s enough to get me out on a school night.  

Ok, first: We LOVE Grandma’s House. From their Post-Punk, adrenaline-fuelled drums to their sludgy Grunge-woven guitars, they are a band we have been following with anticipation. After returning from their most recent tour in Germany last month, debuting their new EP ‘Anything For You’, we had the pleasure of catching up with the band to discuss their creative process, who they’d like to collaborate with and why they’d label their music as a ‘Chilli Heatwave Dorito’.  

London/Melbourne rap duo Teether & Kuya Neil released their debut album ‘Yearn IV’ on May 2nd. The futuristic and experimental hip-hop record is an impressive debut and marks the start of an exciting career. I spoke to the duo on the genesis of their project, real life influences, and navigating the underground scene

When the opportunity came to my inbox to interview A.D. Scruffs I jumped at the chance just from the description I was given ; “a totally independent, Bristol based ‘Roots Revival’ band. I was already intrigued, but it took less than ten minutes of listening to, and watching, their incredibly energising performances and collective musicianship to know I wanted to talk to this musical palette cleansing band further.  

With their debut self-titled album release last month and some exciting live dates ahead of them, I knew we’d have a lot to talk about. I met up with Jake, Will, and Nick to dig deeper into their roots.

Kayleigh Noble is a 24 year old emerging singer hailing from Dublin. Her electro-pop sound and honest, heartfelt lyrics on her debut album Just A Girl charts the emotional rollercoaster that comes with painful breakups. Her second single (Am I Asleep?), due to be released at the end of February, takes a different turn  and sees her explore her newfound singledom. With her warm and bold personality, Kayleigh is shaping up to be an exciting new voice on the European pop scene. We sat down with her to chat about therapy, female empowerment and Charli xcx.

“Go to as much live music as possible. Whatever music you’re into, go and see it live. Another big issue is all the independent venues closing. Music is being attacked from multiple fronts. “

Fractal began almost six years ago in the summer of 2019, following my time in Durham during the end of exams. At that moment, I found the local scene to be hollow, lacking in diverse and experimental events.

Quoted as a “textural, tangible, and touching experience” by The Line of Best Fit, queer music and performance artist Freddie Lewis is on the rise. In the summer of 2021, Freddie launched his career with his single Growing Pains which made a significant impact on the UK trans community. He’s also played at festivals such as Glastonbury, The Great Escape, and Iceland Airwaves.

Self-described as dreamy and introspective, when listening to Cuckoo Spit you enter into a daydream-like state. Starting as just Lottie, the band has already attracted venues like the Windmill in Brixton, headlined shows, and supported sold-out bands… Cuckoo Spit are quietly storming into the music scene. 

Soon to release her second EP, Eliza Oakes is embracing the messy and uncertain nature of personal growth, allowing us in on the process of evolving as a human and as an artist. Her latest single Green Light does exactly this, delving into the unknown, and contemplating the vulnerability, faith, and strength in embracing what we can't control.

Whilst there’s easy comparisons to make with Ahmed’s influences - MF Doom, Tyler, the Creator, MIKE - he’s undeniably genuine, both in his music and in person. There’s no bravado or fake sincerity about ‘WHATCHIMACALLIT.’ and whilst we chat, it becomes evident that Ahmend is a pretty multifaceted individual. He’s got a healthy sense of humour and manages to balance music, his pharmacy career, collaborations with other creatives, events…In his own words, he just ‘like[s] just knowing people’.

Ngaio may be based in Bristol but her music certainly shows she will not be pinned down. Her soulful vocals combined with jazz influences - all underpinned by African beats - create a sound all of its own. But it’s not just her music that’s eclectic, her career itself is eclectic too. Not only a recording artist, she is a spoken word artist, activist, DJ and founder of Booty Bass, a Black-led female/non-binary DJ crew. 

As I'm writing these words, we have just released our debut EP. It's called 'Welcome To The Family', and despite the song’s subject matter, this thing we've created is absolutely that – a family. 

Producer and DJ Michael Diamond blurs the boundaries between electronic and jazz, layering his productions with organic instrumentation that slips in cleanly with the crunching beats and shapeshifting synths. His new album Third Culture, released on June 24, is a seven-track cycle that slides gracefully between minimal, percussive atmospherics and scattered dancefloor rhythms. We caught up with Michael to chat about his new album, the Oxford scene and the many artistic intersections of his practice.

Poetry intertwined with popular music is something the world needs more of. Luckily, current poet laureate Simon Armitage is doing just that with his leftfield ambient post-rock band LYR. Alongside Armitage, LYR are comprised of singer-songwriter Richard Walters and producer Patrick J Pearson. Following the release of their acclaimed debut album Call in the Crash Team LYR have recently released a new EP, Firm as a Rock We Stand, which is part of a wider multi-disciplinary project including a documentary film inspired by the story of Durham’s Category D villages.

Twenty years ago Canadian performance artist and musician Merrill Nisker, better known as Peaches, released her seminal debut album The Teaches of Peaches. As well as paving the way for an explosion of electroclash dance-punk into the musical spotlight the album was a gamechanger in other ways too. In an era when female sexuality was in the main still only put on public display for consumption by male audiences (and even then it was kept neat and sanitised), gender identity was still an underground concept and body shaming was ingrained in popular culture, Peaches unashamedly tackled these issues head-on, both in her music and on stage.

With a big blues voice, a rock star energy on stage and a style that combines country and Irish folk music, Derby-based singer/songwriter Kezia Gill has transcended the narrow confines of musical genres to hone a sound that is truly inimitable.

The jazz/hip hop duo CoN&KwAkE are the latest artists to release on Shabaka Hutching’s label Native Rebel Recordings, but neither are strangers to the London music scene. Con, otherwise known as Confucius MC, has been a major name in UK hip hop since the early noughties, and Kwake Bass is a producer and current or recent Musical Director for big names like Sampha, Kae Tempest and Nightmares on Wax, as well as the drummer of choice for, amongst others, MF DOOM and Lianne La Havas.

I Used To Be Sam is the latest step in an ongoing creative journey. Songwriter and vocalist Annie Goodchild took the brave step of exploring tough questions of identity, family and belonging through their music under their most recent artist moniker, I Used To Be Sam. We had the great pleasure of chatting with I Used To Be Sam from their home in Basel, northern Switzerland, taking in everything from family connections to graphic novels and artist friends.

The Fray celebrated two decades of How to Save a Life with a sold-out, multigenerational crowd at O2 Shepherd’s Bush Empire. The night felt less like a nostalgia trip and more like a full circle celebration of a band whose songwriting has quietly shaped an era.

feeo (aka Theodora Laird) emerges from South London’s fertile experimental scene with her debut album ‘Goodness’, released by AD93. Over the past decade, AD93, an offshoot of Young Turks, itself born from XL Recordings, has quietly become one of the most ruthless laboratories for experimental sound.

Upon his EP’s recent release, Native James has gained a reputation amongst the  rap-metal scene as a definite leading successor amongst up and coming artists. After a successful stint in London supporting the pre-established, ‘Letlive.’ he has released his new EP entitled, ‘CONFESSIONS OF A SINGER’; a release that has been extremely well received by critics and fans alike.

One thing about Bristol: there will always be an excuse to throw a party, and Bonfire Night is no exception to this rule. Below the Belt Productions and Community Jam Collective, two Bristol-based collectives currently taking the city’s creative scene by storm, joined forces again to bring a night of bands, DJs, drinks, food, and all round great vibes to Ashton Court Mansion.

Last Thursday night, London’s live-music heartbeat pulsed loud at 229 The Venue, Great Portland Street, as the ITM Live Tour — part of the four-year In The Making (ITM) programme — launched its first official UK date. The night proved that the capital’s grassroots scene is alive, fearless, and brimming with next-generation talent.

Curated and driven by Cassel (Cassell The BeatMaker), the show captured exactly what ITM stands for: creativity, collaboration, and raw musical honesty.

Larkin Poe (Rebecca and Megan Lovell) have been in the game a long time. Starting in 2005 as ‘The Lovell Sisters’, their americana rock music has carried them through the decades to become the Grammy-winning powerhouse band they are now. Taking their updated name from their real relation to Edgar Allan Poe (their great-great-great-great grandfather was his cousin!), you might be surprised at how hopeful their music is.

With the rise of artists like CMAT and The Last Dinner Party, there’s a real yearning in the air for complex, femme singer-songwriters, especially those that have darker and deeper influences. We’re living in an era of lore-forwards music; in the sense that, artists are working harder than ever to integrate their music into their own creative universes, via short films, stage set pieces, accompanying choreography, and more. And though it may seem like a lot of hard work, Bristol-based artist Anna Colette makes it look seamless. 

Bristol’s active stance on worsening conditions in Gaza and the West Bank has recently been elevated in the local music industry thanks to the illustrious disco heads, Paradisco.

They’ve gathered friends & family from the last 10 years of events - 18 artists from near & far, all pitching in to raise funds towards MAP (@medicalaidpal) in the face of an ever-increasing genocide.

It’s very likely you’ve heard the name Newton Faulkner - maybe his 2007 breakout hit  ‘Dream Catch Me’ is in a playlist or two of your own - but if you haven’t been keeping up with his recent work, I am sure that it will delightfully surprise you. I had the chance to catch Faulkner playing an in-store performance at Bristol’s Rough Trade, as he travels the UK & Ireland to promote the release of his new album ‘OCTOPUS’.

Social narratives, elite swagger and a shameless amount of northerness, Polite Bureaux, like cigarette-filled pub garden conversations, have brought raucousness, unapologetic social commentaries and foul mouthed philosophies to the table with their recent album release, ‘EXCEPT YOUR SKiNT’.

With what feels like a future generational album of electronic berserkness, post punk riffs and charisma tinged references, the band bring together some of most complex arrangements in styles representing some of life’s simplest moments.

Sometimes an album or release can perfectly speak to a moment or period of your life. ‘My Love is Cool’ soundtracked the angst of adolescence, ‘Visions of Life’ shows a more positive entry into early adulthood, ‘Blue Weekend’ gave us colour in the greys of commuting life. Our generation grew up with this relatable progression from Wolf Alice and here we are today for the 4th chapter, ‘The Clearing’.

In this release the band welcomes a new tide of 70s soft rock influence whilst maturing in class and quality. The tracks from start to finish, Ellie’s vocals and the band’s instrumental compositions are so rich in flavour. This is unapologetic proof that Wolf Alice have been and still are at the top of their game.

Truly enigmatic through each and every step they take as an artist, an upbringing fuelled by an illustrious exploration of creativity, an example of blatant uniqueness, Sonotto, is an artist who holds this unforgiving, unrelented and unmatched energy.

They are a true performer and a warhorse of a producer, whose every release is a cliff-hanger - imagining what could this multitalented individual possibly bring out next. And this week, they pick back up where they left off with the two-track EP, FORGET ALL THAT YOU LOVE.

When Shanti Celeste and Peach stepped up, they played a blinder of a B2B, gradually ramping up the energy until the whole room hit boiling point — literally. As the 11pm curfew neared, the theatre was sweltering, makeshift fans were working overtime, and dancers started swapping their own clothes for Spice on SZN-branded tank tops.

A respected and reliable name in the UK indie, electronic and dance scenes, Joe Goddard reveals another layer of his stratified production mind with the MC-laden EP, Kinetic, released in early May.

Here we see the electro aficionado host a dream selection of collaborating artists, similar to previous projects. On this instance, his proven record of birthing basslines gives us 5 tracks, 4x4s to fill the floor, 3 MC features and a post punk duo all firing off in this one extraordinary siege of UKG.

Almost two decades on, a marriage and four studio albums, the LA based duo JOHNNYSWIM complete the pentalogy with the raw and recently released album, When the War is Over, providing an insight into their individual feuds with self discovery, heritage, emotional and health challenges.

Last year (2024) should be confidently considered the year of Irish breakthroughs, and amongst the pioneering Fontaines DC and anti colonial Kneecap, you will also find the smooth, silky wordsmith that is Curtisy.

Grammy Award Winners, OK Go's long-awaited return with The Adjacent Possible marks a striking evolution in their musical journey, as the band takes bold steps into new sonic territories - whilst still maintaining their signature creativity.

With punchy lyrics that hit the feels written by Dinning, a strong and melodic production, and best-selling vocal work, this song makes it easy to see why Dinning has been penned as ‘writing the soundtrack for the queer kids’. “Look Who’s Holding the Gun” for Dinning is not so much about love in general, it goes deeper in meaning. He hopes the song helps people recognise that you can’t help who you love but you can begin to see when someone isn’t in a position to give love to us. 

An Aussie festival staple, the producer behind the A-League’s theme song, winner of Queensland’s 2021 best electronic track, Young Franco has popped up from Down Under with his debut album, It’s Franky Baby!

The seventh album of the Grammy-award nominated producer, TOKiMONSTA, continues her journey of genre-bending, electro-focused, fearless yet progressive stamps on the US dance scene. More importantly this project illustrates a meaningful tribute to her late friend - prior to its recording TOKi took a career break to experience their friendship’s last moments. 

‘Life Forgetter’ is the first single from Twins’ debut EP, alongside a misty and intimate music video, depicting Loz’s current 2025 caravan residency on a farm outside of Bristol. 

Coming off the heels of announcing their first UK Tour with some of their biggest headline shows to date, The Redroom have released their brand-new single “The Fear”. This is the first single from the upcoming debut EP, ‘Liminal Space’, recorded in Liverpool’s iconic Motor Museum Studios. 

The more I explored Hannah Diamond’s music, the more I realised that it was the sincerity behind the cutesy sound and style that set Diamond apart from her peers, creating this uncanny valley effect that is both superficial and achingly real. In a world where irony and cynicism are all too prevalent, the sincerity of her lyrics feels oddly refreshing. Perfect Picture picks apart the layers in the Photoshopped world of Miss HD and allows us to see her as she really is. 

Following the release of their swaggering and introspective new album Reason Enough, London four-piece Crows have embarked on a highly anticipated European tour. The band, known for their intense live shows and post-punk sound, have received support from the like of 6 Music, Radio 1 and The Observer, so it’s no surprise The Exchange is packed for their first gig in Bristol in over two years. 

Love Saves The Day is now a firm staple on the yearly festival calendar, holding the crown of Bristol’s biggest music festival, pulling in crowds from all over the UK. For its tenth year, Love Saves The Day made the ambitious leap up to Ashton Court Estate on the western edges of Bristol, with the capacity to hold 60,000 partygoers over the jubilee weekend.

Love Saves The Day is now a firm staple on the yearly festival calendar, holding the crown of Bristol’s biggest music festival, pulling in crowds from all over the UK. For its tenth year, Love Saves The Day made the ambitious leap up to Ashton Court Estate on the western edges of Bristol, with the capacity to hold 60,000 partygoers over the jubilee weekend.

Everyone has different sleeping habits. Some of us have to listen to rain sounds or white noise to feel cosy, whereas some people can fall unconscious with ease, sitting upright on public transport. If you’re finding it difficult to drift into your dreams, our Music Editors Katie and Brandon have the perfect playlist to send you to sleep (in the best way possible).

The sun is setting far too early and arising far too late. If, like us, you’re not really a morning person, it can be difficult to detach yourself from the warm bedsheets and get ready for another day, but a good playlist can always be the antidote.

 We think it’s time to take Halloween seriously again, and to do that, a stellar soundtrack is fundamental. Katie and Brandon, Everyday Magazines music editors, have compiled a playlist just to get you in that whimsically scary headspace.

Few bands have managed to capture the emotional landscape of a generation quite like Coldplay. Since their debut in the late 1990s, the British quartet has evolved from introspective indie rockers to global icons, while maintaining a sound that is deeply emotive, universally relatable, and unmistakably theirs.

Motion’s disappearance also carries serious historical weight. It emerged from the squat rave movement of the 1980s, where DJs squatted vacant spaces across the UK drawing tribes of people with a shared rebellious spirit. These raves existed in liminal spaces on the edges of legality and society, where a melting pot of cultures enjoyed many genres of music collectively.

Truly inclusive music spaces are not just about access – they're about authenticity, risk-taking, and community. In these spaces, music becomes a way to unlearn societal constraints and connect more deeply. Music is often a gate-kept world – privileging formal training, tradition and neurotypical ways of communicating. So many people feel locked out: disabled people, neurodivergent folks, those from working-class or global majority backgrounds, queer and trans artists. Inclusive music spaces disrupt this pattern by inviting everyone to create and be heard.

Festival season has begun. You can feel it in the air, thick with about-time-tent upgrades, group chats named "Glasto Gals 2025", new-age wellies with sustainable soles, high street shops with FSTVL SZN stock, persistent checking of BBC, Met Office and iPhone weather apps (putting trust in the sunniest and driest) and essentials-only shopping lists ft. breakfast bars, wet wipes, tinnies. 

Fractal began almost six years ago in the summer of 2019, following my time in Durham during the end of exams. At that moment, I found the local scene to be hollow, lacking in diverse and experimental events.

The fact that Chappell Roan became so famous after flying under the radar for years says something about the need for queer artists (and people generally) to be their authentic selves. However, being yourself in the limelight comes at a price. Since the human brain is an extremely malleable thing, it’s not surprising that becoming a celebrity can have drastic effects on a person's mentality. 

It feels like every summer we are faced with a seeming abundance of festivals, but the reality is, it is harder than ever before to organise a festival. For as new festivals open, a number of older ones close forever. 

Music is a powerful art form. It has the ability to connect us to other people, surpass language barriers, resurface emotions, and impact upon brain waves. So, why do we take away its power by feeling the need to judge others for their music taste?

So many celebrity deaths seem to arise from years of alcohol and drug battles. Some indirectly, some more absolute. For many fame is the flame that lights the fire, for others a safehouse for the dysfunction of addiction.

The word imposter has some rather duplicitous connotations. On one hand, it conjures images of caricature villains from cheesy pantomimes, TV shows and films, revealed in a hyper exaggerated manner. You know the kind of thing: "I'd have got away with it if it weren't for you meddling kids", et cetera. The other side of the coin is a mental health issue that has only entered the public consciousness in recent memory.

At a festival, you’re almost guaranteed to have something outrageous happen either to you, your friend, or your friend’s friend. When you combine a myriad of different, excitable people from around the country (or world!) who may or may not be on drugs, what else do you expect?

An audiophile; an individual that is deeply passionate, exacting, and even obsessed with high fidelity audio. These notoriously pedantic creatures can often be found snuffling for truffles in the darkest corners of record shops the world over, uttering phrases such as "oh that's a first pressing" and "Led Zeppelin 1! Oh, but it's not got the original purple label".

If your room was covered wall to wall in pull out posters from the latest issue of Kerrang!, this one’s for you.

I’m sure we’ve all heard someone say “music saved my life” at some point, and whilst it might sound like something of a cliché it is actually true. Music has several positive effects on our mental wellbeing; helping to alleviate stress, enhance memory, stimulate emotion and soothe the soul.

When I fell in love with my spouse over ten years ago, despite already knowing I was polyamourous, I didn’t expect to fall in love that hard again.

I won’t bore you with the gory details of my ‘un-love’ life, suffice it to say that the pattern of falling for boys, uniformed or otherwise, continued into my teens…I had unrequited love down like a pro and could have written a book or vlogged about it if the internet had been invented.

The ever expanding world of music genres can be, to the uninitiated, a baffling experience. Over recent years, the trend amongst journalists seems to be to create increasingly ridiculous genres (and sub genres) for new artists, rather than attempt to define them within the existing musical spectrum. Is it simply lazy journalism? Well no, not necessarily.

Nostalgia is a part of life. And so is music, especially if you are an arts and music lover like myself. Have you ever thought back to a time when one specific album changed your life in ways you never would have expected?

I sometimes find myself at a gig thinking...jeez, who told them they sounded good!? And this is why I wouldn’t make a very good critic. The trouble is, I have too many opinions and not all of them are kind. I think to be a critic it’s good to be neutral to a degree, take an overview and be objective. But I love music so much; so I’m passionate, opinionated and subjective.

What is the point of spending £50 on a limited edition vinyl when that artist will only be charging £12.99 for that same album in MP3 format? Is it just trendy to reject the mainstream? Is Vinyl a fad, or is this the second coming of The Record?

A night at the theatre, a recorded live album from one of America’s best-loved soul bands, a dive into cultural surroundings and musical differences, and some plastic tapes. For one person, they all add up to a musical awakening.

Trigger Warning - this article openly discusses suicide and suicidial ideation

Suicidal ideation isn’t really openly discussed in any social setting that I’m aware of. I’ve talked about it briefly with my mental health friends, but it rarely gets past the point of acknowledging that we both aren’t that adverse to dying, and then swiftly moving on. Let’s face it, talking about suicide and suicidal ideation is rarely an enjoyable or comfortable conversation, so why bring it up (outside of therapy) at all?

Attacking an independent store merely because they want to target a wider demographic is unjustified. If Demi truly wanted to attack diet culture, she should have called out the large corporations who produce these items rather than small local businesses who have had enough economic losses due to the coronavirus pandemic.

Cringe itself is a clash of two things: self perception and the perception of others. There is more than one type of this clash though. Melissa Dahl talks about this duality in Cringeworthy: A Theory of Awkwardness, where she explores compassionate cringe and contemptuous cringe.

But festival sets are another thing. They are not just the music, they are everything else in between. Conjuring up memories of the whole weekend and where it fits into the story of your life - who you were with, the weather, the sets you missed, the people you met, the journey there and the journey home, the comedown.

Festivals aren’t always just about the music. Your make-shift campsite, the people you camp with, the people you meet and the things you share are all part of the experience too. However, watching live music and discovering new bands are definitely what makes a festival memorable.