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London Music Scene Blog

Along with Paris and New York, London consistently ranks as one of the best cities in the world for its rich and diverse culture. For decades, a massive part of that culture has revolved around music.

Barely a day goes by before a new metropolitan festival starts in the capital. With All Points East, Camden Rocks Festival, Meltdown and British Summer Time in Hyde Park and plenty more major festivals happening in London’s 32 boroughs, the city constantly attracts music fans from across the UK and beyond.

Pop, rock, classical, jazz, rap, folk and indie fans will never find a shortage of events at the music venues spread across the city. Unsurprisingly, the city has also generated a significant proportion of the UK’s most iconic acts from across all genres.

From Tottenham-born Adele to Amy Winehouse to the original UK rock icon Led Zeppelin to David Bowie, the iconic recording studios in London have never fallen short of talented artists already at their doorsteps. There is only a handful of recording studios in the world that have become a household name; London’s Abbey Road Studios is one of them. Within the walls of Abbey Road Studios, The White Album by The Beatles, Odessy and Oracle by the Zombies and Money by Pink Floyd are just some of the iconic albums that have the talent at Abbey Road Studios to thank.

The London Music Scene wouldn’t be the same without the grassroots venues. The Dublin Castle, the Lexington, Nambucca, The Fiddler’s Elbow, XOYO, The Macbeth and the Jazz Café have all played their part in getting artists discovered.

In the urban arena, the award-winning London-based rappers, Stormzy, Dave, AJ Tracey, Aitch, Skepta and Slowthai have completely redefined the UK hip hop scene in recent years. While exceptionally distinct acts, such as Wolf Alice, Django Django, Baby Queen, have made waves with their off-kilter infectious sound. Wolf Alice, who are thought of as London’s answer to Sonic Youth, won the Mercury Music prize in 2018. They also managed to reach number 2 in the album charts with two of their albums. Yet, most artists live in the ever-growing shadow of the two London heavyweights, Adele and Ed Sheeran. They may not be every musos cup of tea, but that didn’t get in the way of Ed Sheeran selling over 150 million albums worldwide and becoming recognised as one of the best-selling artists to have ever lived. Adele hasn’t done too badly for herself during her decade long career either. Her distinct vocal timbre has allowed her to pick up 15 Grammy awards and plenty of other awards along the way. Adele rocketed herself towards stardom with the release of her debut album, 19, while Ed Sheeran went on the arduous journey from busker to a best-selling artist and became the ultimate contemporary artist success story.

Bitvert – Deletist: A Techno-Punk Invocation of Resistance

Bitvert’s latest release, Deletist, is an off-kilter slice of pulse-pounding experimental electronica, crafted in the heart of East London’s artist quarter—where creativity thrives despite economic and political adversity.

The encapsulation of the struggle against a dysfunctional government and parasitic leaders embodies the spirit of liberation and defiance; the punk ethos charges the sequence of nocturnal electro, born through an amalgamation of spectral electronica, 4/4 techno beats and kinetic sub-bass frequencies.

The single’s release coincided with the new government’s election, yet it remains timely all the same, given the sense of nihilism and despair that remains pervasive in the UK’s collective psyche. Deletist serves as a bass-drenched techno resistance, a sonic uprising against the subjugation that has eroded hope and fuelled a belief in our epoch’s irreversible regression.

With punk’s spirit relegated to the shadows of the music industry, Bitvert ensures its essence endures through his frenetic rhythms that testify to the times, call for unity and vindicate through volition.

Deletist was released on the 4th of July via We Are Not Content; stream the single on SoundCloud now.

Review by Amelia Vandergast

Spotlight Feature: London’s Princess Wonda continues to hold dominion over Afro-Fusion with the sensuously soul-awakening rhythms in Shooby Doo’

London’s Princess Wonda reached the pinnacle of luxuriant radiance with her latest installation of Afro-Fusion, Shooby Doo. With melodies which wash over you with sublime elegance, harmonious harmonies and rhythmically kinetic grooves, you’d be hard-pressed to find a more elevated release than this.

The sensuous, sun-kissed, and sublime on the senses single fuses traditional African instrumentation with elements of modern dancehall and an aura of lush transcendence to envelop the listener in a sense of soul-awakening serenity. The UK-born Nigerian Afro-Fusion icon’s radiant presence shines through, making it an emotionally euphonious experience that surpasses sound.

Recorded at Pirate Studio, with engineering by Dami Bones and production by Mofizzay and Mr Marz, Shooby Doo is set to be the rhapsodic sound of the summer. It’s a testament to Princess Wonda’s artistry, celebrating Afrobeat’s rich cultural heritage while inviting listeners to rekindle their zest for life.

Princess Wonda, known as the “Queen of Afro-Fusion,” continues to push the boundaries of Afrobeat with this release, shattering stereotypes and championing the role of women in African music. With multiple UK chart entries, including two number ones on the UK World Music Chart and a sold-out headline show in London, she has established herself as a formidable force.

Following her successful debut album, Fantasy Fair, and her hit singles, Bust My Mind, and My Body, Shooby Doo adds another sublime layer to her impressive repertoire. As we look forward to her upcoming EP in 2024, Princess Wonda’s journey remains as promising as ever.

Princess Wonda Said

“The inspiration behind ‘Shooby Doo’ stems from a deep appreciation for the rich cultural heritage of Afrobeat and the dynamic energy of contemporary music. The lyrics resonate with themes of love, passion, and pleasure, inviting listeners to embrace the positive energy as the pulsating beats and sultry vocals capture the aura of joy and celebration.” 

Shooby Doo was officially released on July 5th, stream the single on Spotify and Soundcloud now.

To ensure you never miss a release, follow Princess Wonda on Instagram.

Review by Amelia Vandergast

The Serenity Club launched an attack of anthemic alt-rock reclamation with ‘Taking Back My Life’

The Serenity Club

With pop-fuelled alt-rock choruses that will be euphony to be the ears of the Foo Fighters between verses that reanimate rugged 90s Britpop swagger, The Serenity Club’s latest single, Taking Back My Life, is an unforgettably emboldening anthem of reclamation.

The high-octane synthesis of volition, redemption and serotonin is set to put the London-based triadic powerhouse on the map ahead of their debut five-track EP, Obsession Submission, which is due for release later this summer. The timely release of the single also means that it incidentally coincides with the General Election; I couldn’t think of a better track to listen to on the way to the polling station.

Hints of 90s-era Manic Street Preachers (think along the lines of Slash n Burn, You Love Us, and Kevin Carter) resound throughout the vivaciously fuelled guitar licks and the razor-sharp hooks that don’t stop at pulling you into the centre of this intensely liberating hit. They open the doorway to one of the most determined-to-embed earworms you’ve ever encountered as they work alongside the unflinchingly dynamic vocals of Mit Inajar.

With an exhilarating sound that Wembley Stadium could scarcely contain, The Serenity Club has exactly what it takes to take their career to stratospheric heights this summer; just try standing in their way.

Taking Back My Life will be available to stream on all major platforms, including Bandcamp, from June 28th.

Discover more about The Serenity Club via their official website.

Review by Amelia Vandergast

Spotlight Feature Pulsative post-punk meets trip-hop in Dissolved Girl’s 3rd spectrally filmic release, I’m a Beast

From their debut, we knew London’s ‘Trip-Rock visionaries, Dissolved Girl, possessed a locked and loaded arsenal of potential. Their third single, I’m a Beast, is definitive proof of their ability to eclipse the airwaves with their lustrous presence which is a phenomenon in its own right.

I’m a Beast explores the emotional wreckage left by sociopaths and narcissists, creating a darkly cinematic atmosphere through dissonant rhythms and ethereal vocals that paint power into vulnerability.

The blend of trip-hop, post-punk, and indietronica ensures the cold, monochromatic aura seeps into the listener’s psyche, with hooks that pierce deeply and crescendos that provide a cathartic release. Dissolved Girl’s latest single transcends mere alt-90s homage; their intricate instrumentation, driving post-punk basslines, and vocals reminiscent of Shirley Manson establish them as masters of refined, dark soundscapes.

Before forming Dissolved Girl, Nick (guitar, songwriter) and Claire Edbrooke (vocals, songwriter, producer) were involved in various musical ventures, always with the goal of succeeding with original music. Their collaboration led to the creation of a unique sound, bolstered by the addition of Arthur Keys (bass) and Dom Chandler (drums).

Despite their recent formation, Dissolved Girl has already garnered significant radio play on stations such as Amazing Rock & Metal, MM Radio, Radio Wigwam, WDNF-Philly, SLE Radio, Prospect Radio, and Krac Radio. Their fanbase is steadily growing as they prepare for the release of their debut LP later this year.

Dissolved Girl Said

“This song touches on a few concepts, but in its original form, it was about people with personality disorders. They wreak havoc in others’ lives and simply move on to the next victim without remorse or feeling. There is a certain irony that the person inflicting the damage finds moving on so easy, and yet the person affected by their behaviour is left reeling, wounded, and confused about how or why this has happened. It is about feeling resilient as a victim in the face of all that and coming back stronger.”

After being mixed by Dani Castelar – who has three number 1 albums with Paulo Nutini – and mastered by Matt Colton, I’m a Beast was officially released on June 14; stream it on all major platforms, including Spotify now.


Review by Amelia Vandergast

Post-Punk Pulsates Through Dissolved Girl’s Latest Alt-90s Spectral Sonic Shadow, I’m a Beast

Dissolved Girl is back for round three; the gloves are off, and teeth are bared in their latest single, I’m a Beast, which blasts past alt-90s pastiche and scathes the rhythmic pulses with killer hooks, sharp enough to tear through the monochromatically cold atmosphere of the release which aches for redemption.

Ornate gothic instrumentation carves its way through the production while the basslines pulsate with post-punk volition under the vocal lines which blend raw power with haunting vulnerability. If Garbage released this single at the zenith of their career, the spectrally sensuous soundscape would have darkened the top of the charts for weeks. We may be living in a new sonic epoch, but the London-based four-piece is unflinching in their determination to keep bands relevant in the modern music industry.

With their refined approach to bending minds through esoteric alchemy and their ability to linger in the psyche for long after the final shadowy note, it’s only a matter of time before they take the alt-music underground by storm.

I’m a Beast was officially released on June 14; stream the single on Spotify now.

Review by Amelia Vandergast

Candy Rush debuted with her quirky pop revelation, Don’t Even Wanna Know

Don’t Even Wanna Know is the satirically sweet quirky pop debut from the Romanian London-based artist, songwriter and producer, Candy Rush (Elena Ilie). Play it loud and amplify the voice of this generation that is becoming increasingly tired of plastic pop protagonists who shirk autonomy while rattling a begging bowl for commercial success.

The debut is stylistically saccharine enough to implant a voracious sweet tooth in anyone who swims in its honeyed tides of the single which allows idiosyncrasy and autonomy to ebb and flow throughout the avant-garde mix of alt-pop, neo-jazz, funk and soul.

“It feels like an infection to deal with your perfection” is just one of the introspectively enlightening lyrics which embody the lyricist’s ability to move far past the tired tropes and deliver lines that catch you off-guard with the resonant obscurity. Her playful approach to vocal arrangement and unorthodox grooves resulted in a ground-breaking debut which embodied her desire to exhibit the quirks and contradictions of modern life.

With the accessibility of the proverbial girl next door and a talent that could rival HONEYMOAN, Candy Rush will prove to be a force to be reckoned with as she rises up from the alt-pop underground.

Don’t Even Wanna Know was officially released on May 24; stream the single on Spotify.

Review by Amelia Vandergast

Spotlight Feature: ELZON broadened the alt-RnB hip-hop horizon with his psychedelic trip of a hit, ‘expensive dreams’

ELZON redefined the boundaries of alt-RnB and hip-hop with his latest single, expensive dreams. The London-based artist, known for his rich cultural background and boundary-pushing music, delivered a scintillatingly serene installation of hypnotic innovation which begins with a visionary overture that lures listeners into transcendence, where dreamy 8-bit tones meld seamlessly with cloud rap influences.

The track is a kaleidoscope of cultivation, opening a portal to unrestrained artistic expression. As the song progresses, it builds towards a mesmerising mid-section, characterised by ethereal falsettos reminiscent of The Weeknd’s early work. This shift in tone, akin to a record player hitting play on a fresh LP, elevates the track into a crescendo that injects subtle intensity and speaks of ELZON’s status as a revered pioneer who is well on his way to becoming a viral sensation.

Produced between London and Manchester, with the signature touches of Elliot Taylor and Blamebrazy, expensive dreams is a testament to ELZON’s relentless pursuit of pushing leftfield sounds into the mainstream.

ELZON describes the track as a “psychedelically experimental rap/RnB track inspired by Frank Ocean and Lucki, featuring cloud rap-influenced instrumentals and Blond-esque pitched vocals”. This fusion creates a lush soundscape of surreal serenity that speaks to the senses louder with every listen.

ELZON’s journey from his early days making music in his bedroom to collaborating with Grammy-nominated producers attests to his talent and dedication, which the airwaves will see more of later this year when he unleashes his art PUNK mixtape.

Stream expensive dreams on Spotify, and follow ELZON on Instagram.

Review by Amelia Vandergast

Ella Eliza’s Life Without Me Is A Journey Through Heartbreak and Self-Discovery

London’s queen of queer pop Ella Eliza, exhibited the difference between a singer and a soulstress in her latest single, Life Without Me, which firmly puts her in the latter camp.

With spiritual motifs littered through the lush-with-transcendent-textures single that allows the brooding basslines to create a moody atmosphere for the indie jangle pop guitars and glassy synths to explore, Live Without Me breaks new evocative ground as Eliza exhibits her full vocal range from low sonorous reverberations that bring home the gravity of the vulnerable lyricism to the harmonic highs.

Life Without Me reaches the epitome of vulnerability as Eliza navigates the complex landscape of relationships in the context of self-discovery. By sonically visualising the precipice of potential romantic loss, the urgency in the lyrics which were penned in the aftermath of a breakup cuts deep.

Life Without Me will be available to stream on all major platforms from May 31; for the full experience, stream the official music video on YouTube, which was created in collaboration with the multi-award-winning LGBTQ+ filmmaker, Frankie Joe Gommon.

“After speaking with Frankie about making this video, I decided that I was ready to open up about my sexuality for the first time, and let my audience in on some of the most vulnerable parts of myself. I think there’s still a part of me that’s that 13-year-old girl, who’s scared of showing so much of themselves. I am a lot more comfortable with who I am now, but I think the video reflects my past – which is the current reality for a lot of queer people. My biggest hope is that this song and the video resonates with people who are still trapped in that place, and can inspire them to be their most authentic selves.”

Review by Amelia Vandergast

Embers’ Breakbeats are as Hard-Hitting as Her Bite in ‘Teeth’

By anchoring the transcendent house elements with the forcefully resonant undertones of the bass that reverberate through the entrancing breakbeat production against techno beats and vocal pop hooks, Embers’ started a fire that will never go out with her latest single, Teeth.

Sensually sonorous in one breath and rhythmically liberating in the next, every progression is a revelation in stylistic motion in Teeth, which attests to the London-based singer-songwriter and producer’s triple-threat talent that is making waves in the UK electronica scene and tearing attention away from the likes of Sylvan Esso, Lapsley, and Maggie Rogers.

While the instrumentals deliver an expansive brand of alchemy, Embers brings the intimacy with her ever-ascending vocal lines, making Teeth fitting for late-night sessions of reflection, your after-party playlists, and whenever you need reminding of the transformative power of sound orchestrated by a visionary who knows exactly to stir the soul with melody.

Teeth was officially released on May 24; stream the single on all major platforms via this link.

Review by Amelia Vandergast

The UK’s hottest RnB trio, Y.Q.S, Harmonised Through An Interplay of Light and Dark Duality in Their Latest Single, No Angel

Y.Q.S’s latest harmonised-to-the-nines contemporary RnB single, No Angel, is a sublime equilibrium that delicately balances shadow and light, embodying the complexity of feminine energy and autonomy. This track emerges from the depths of personal scars and speaks volumes of universal archetypes, presenting itself as a bold declaration of independence against the backdrop of love’s darker, often unexplored side.

Y.Q.S, a supergroup hailing from the urban melting pots of London and Manchester, channels their rich RnB heritage into a modern narrative that will ensnare fans of iconic ensembles like 3LW and Destiny’s Child. No Angel is steeped in the trio’s signature style of lush, interwoven harmonies, elegantly layered over a trappy, contemporary beat that amplifies the track’s luxe feel.

The production, handled by Klaudia Keziah and Jojo Farinella at Southampton’s Red Room Studios, further refines the single’s polished fiery signature that carries the potent with empowerment lyrics, which create a resonant anthem for those who navigate the tightrope walk of self-sacrifice in relationships.

As Y.Q.S stands poised on the brink of further acclaim, having already graced platforms at London Fashion Week and received nods from BBC Introducing, No Angel promises to elevate their artistic trajectory even higher.

The release, scheduled for streaming on all major platforms, including Spotify, from May 24th, will coincide with the release of the official music video for No Angel.

Review by Amelia Vandergast