GEMINI ZINE - ISSUE #1

what is
GEMINI?
GEMINI is a zine made by twin sisters Beth and
Martha, uni students at Liverpool and Leeds
collectively. The zine is Beth’s passion project, and as
an artist herself (making music under the alias
Lazygirl), she’ll be writing about all things music—
including interviews, reviews, popular music analysis,
think pieces and music culture. She’ll also be curating
a playlist for each issue featuring local artists, along
with some of the twins’ favourite tunes! Martha’s job
as an art student is to make the GEMINI look pretty
by doing the issue’s covers.
We hope that with GEMINI we can give a new take on
music journalism from a student and musician, with
emphasis on amplifying women and LGBTQ+ voices,
as well as smaller local artists.
2

c o n t e n t s
ASCENDING: Jensyn
After her lockdown release, we interview Jensyn about
new material, queer representation and more. [4-5]
THINK PIECE A glimpse at gender
representation in Reading and Leeds, Affirmative
Action and the Keychange initative. [6-9]
ANALYSIS
GEMINI takes a look at ‘What He Said’ by Poppy
Shrimpton, and how the track creates its lush
soundscape of melancholy. [10-11]
SPOTLIGHT A look at this issue’s spotlight
tracks. [12-13]
ASCENDING: Atonia
The rising star talks with GEMINI about musical
influences and things in the pipeline. [14-15]
GEMINI TOP PICKS Our favourite
releases in Liverpool and beyond, along with twin
favourites. [16-17]
3

4
A S C E N D I N G
JENSYN
Where did your journey as a musician
begin?
My parents had always encouraged me to
learn an instrument from an early age but I
think my real love for playing music started
when I first began learning the bass at 9.
From there I just wanted to keep learning
other instruments like guitar and drums and
then I really got into teaching myself
production and posting remakes of songs on
SoundCloud. Jensyn came about when I
actually started to be happy
with the quality of music I
was making.
Who would you
consider your main
musical influences?
I would say I have different
influences for the different
aspects of my own music. I
love creating melodic bass
lines and that definitely
comes from my love of Jaco
Pastorius – especially his stuff with Joni
Mitchell on Hejira. My mum is a big fan of
soft/folk rock so she introduced me to groups
like CSNY and the Eagles whose tight
harmonies I became obsessed with. I also love
to mix acoustic and electronic sounds
together. I think my love for that combination
has also been influenced by film/TV
composers such as Ólafur Arnalds, Nils
Frahm and of course big names like Thomas
Newman. They have really inspired me
through their use of harmony and choices of
sounds which are always so interesting
sonically.
What does your writing process
usually look like? Are you influenced
by anything in particular?
I like finding interesting chord progressions
and harmony on the guitar, so it usually
starts there. I'll record an idea and then when
I have a lyric or subject, which sometimes
comes immediately but also often at
“
It’s an exciting time
regarding queer
representation in the
industry. More people are
sharing their stories and
more people are listening!
”
The lockdown release of debut EP
‘Untouchable’ brought cool-toned pop
soundscapes with captivating vocal
treatment, synths and virtuoso bass
lines. Now, Jensyn sits down with
GEMINI to talk in-depth about
songwriting, new material and queer
representation in the music industry.
random points in the day, I will work out a way
to fuse the two. From there I like to record and
start to produce what I have got in order to
work out what sounds/instruments I will be
using around it because that usually helps to
keep the momentum up creatively to help me
finish it!
Naturally I am always feeling something very
strongly at that moment which I can't stop
thinking about - that's why I'll be writing about
it! On my EP I had two songs about the
current Covid situation which
starts and ends the project
which definitely shows how
present it was in my mind, like
the majority of us I think. I'm
an over-thinker for sure, and if
I'm going down a spiral about
something, usually lyrics will
come from it because that's
something that helps to put
my mind at ease.
Your song ‘Blue-Tinted’ is
rooted in working out
gender identity, and has been featured
on BBC Introducing West Midlands
(congrats!) How do you think gender
and queer representation in the music
industry is changing, or may evolve in
the future?
I think it is definitely a really exciting time
regarding queer representation in the industry.
More people are sharing their stories and more
people are listening! I just want the amount of
representation to keep increasing and also more
quickly because so many people need to hear
and see themselves in the media. I think in our
generation there are lots of people leading the
way in creating a climate to allow for
unrepresented or misrepresented groups to be
heard. I think the landscape of the music
industry in the future looks diverse with music
from lots of different backgrounds which is so
needed!
‘Blue-Tinted’ came about very quickly, in one of
my overthinking spirals, and the subject matter
is very personal. The fact that then BBC West

Midlands played it is so affirming
to me and makes it a really special
track because I'm just so happy
people like it and connect with it
in some way.
Photo: Fraser West
2020 has been an
interesting year to say the
least, especially concerning
the effects of COVID-19 on
the music industry. What
was the last gig you played
before lockdown?
The last gig I played was an
acoustic set for International
Women's day with The Velmas in
the Zanzibar Club in Liverpool! It
was so much fun doing that one
with my favourite fellow
musicians, but it has been too long
and I am definitely missing
playing live. We have just heard
that the Zanzibar Club has closed
which is particularly
heartbreaking for us.
If you could have a dinner
party with any artist - alive
or dead - who would you
pick and why?
Christine and the Queens – she is
just such an icon, especially for
the queer community. It’s so
awesome how her audience has
grown and how big of a platform
she now has and so I think she is
providing this representation
which is so important and
necessary. Meeting her would be
incredible.
Finally, what does the end of
2020 and the new year have
in store for you?
I definitely have some Jensyn
material up my sleeve so, fingers
crossed I will be getting that out
in the coming months! I am also
working on more instrumental
music for visual media, so I will
be sharing any projects that I
become involved with. I have
been trying to connect and
collaborate with young film
makers and this has given me
the chance to explore new
musical styles which is feeding
back into Jensyn, helping me to
create new exciting content!
5

T
STILL A MAN’S WORLD?
Headliners, Keychange, and the Problem with
Reading and Leeds
he date is 11 th February 2020. A
certain life-altering pandemic has yet
to bludgeon its way through Britain –
Boris hasn’t even told us to wash our
hands to Happy Birthday yet – and for
most, it’s just a cold Tuesday morning.
Reading and Leeds Festival announce
their initial 2020 lineup. Outrage
ensues.
Edits on Twitter show the light dusting
of non-male acts, usually
gathering at the bottom
of sections – an afterthought
and an accessory
under the punchy logos of
male artists – and stuffed
there haphazardly, so to not
cause a media stir. But it
does. Many in the industry
call out this pattern of inequality,
including Annie
Mac, Maggie Rogers and
Matty Healy – the latter of which headlined
last year, and now pledges to sign
only onto festivals
with a
50/50 split of
acts.
“
The concern has
shifted across
the festival’s
legacy from one
of inclusivity to
one of equity
”
This is not new
behaviour
from R&L.
Since the start
of the millennium,
an average
of 3 acts
featuring female musicians have reached
the main stage, compared to about 29
main stage acts overall. Crunching the
numbers, I found the highest value in
2017, where 6 out of 27 main stage acts
featured women (and after going through
hundreds of Wikipedia pages of all-male
artists, I considered this a victory). Still,
in 2020, it is most common to see only
two or three acts featuring women on the
main stage lineup, and occurrences
where there are none at all.
This number becomes
smaller in trying to find
queer, non-binary and trans
folk, even beyond the main
stage.
Fast forward six months,
and Reading and Leeds
bravely announce their return
in 2021 with 20 confirmed
acts and 6 headliners.
One would hope that lockdown has
given them some time to soul-search. The
ratio has improved significantly, with
eight of the 20 announced acts featuring
women – but this doesn’t stop the onslaught
of complaints on Twitter. Mister
R&L is probably whining, ‘Why are you
booing me? I gave you eight women!’ But
the concern has shifted across the festival’s
legacy from one of inclusivity to one
of equity. There is a seat at the table for
these artists, but it’s a low stool with wobbling
legs. Three quarters of these acts
have been delegated to the “also perform-
6
Laura Jane Grace performing on the main stage of
Reading and Leeds festival in 2015. Photo: DIY Mag.

ing” section of the poster, in small print
– even with a large portion of acts now
promoted to headliners. These issues run
far deeper than the lineup poster, and
beyond R&L.
When asked to explain why non-male
artists tend to bunch at the bottom of the
bill, Latitude’s booker Lucy Wood explains
to Grazia: “We all want more
women on the bills and we’ve all consciously
tried to get more women at the
top end, but there’s only so much you can
really do… At the end of the day we need
to [make sure] the artists we choose attract
people to buy tickets… people who
are already arena level or above.”
Likewise, Glastonbury organizer Emily
Eavis justified the festival’s all-male
headliners despite the presence of women
and queer folk “lower down the bill”
by claiming “The pool isn’t big enough…
it’s time to nurture female talent. Everyone
wants it, everyone’s hungry… but
they’re just not there.”
This implies that the problem lies not
with bookers, but with the artists themselves
and their lack of ability to rise to
the surface – which puts us in a vicious
cycle. The music industry is still a male–
dominated field, leaving non-male artists
to be discouraged – no less by the lack of
representation on the festival bill.
This would give the illusion that these
acts are “not there”, when in fact they
just aren’t being given the same opportunities.
A spot on a festival
lineup is not something that just happens
to artists, and there are deeper
matters at play, trickling right down
to how we educate and treat minority
artists at their inception.
This leads us to Affirmative Action –
Janelle Monáe headlining the West Holts stage at
Glastonbury Festival 2019. Photo: Getty Images.
policies to ensure the inclusion of minority
groups or those who have been
discriminated against. Amongst many,
we have the Keychange initiative: a
Europe-wide pledge to “demonstrate
commitment to a 50/50 gender balance
in programming by
2022” (Lowes, 2020). On their site,
they reiterate that “talent is distributed
evenly, opportunities are not”. 189
festivals from across Europe, the US
and Canada have pledged so far, including
Liverpool Sound City and BBC
Proms, though many big UK festivals
have yet to sign on – and I can imagine
this won’t change after the landscape
of festivals has been left barren
this year. Even before coronavirus,
“
Talent is distributed
evenly, opportunities
are not
”
bigger festivals have shied away from
Keychange because of the risk of not
being able to hit the 2022 target. As
Wood says, bookers are burdened with
ticket sales and must concern themselves
with what sells – and a rough
year means a smaller budget to
spend on the following
summer, thus having a
knock-on effect.
After a year of
festival drought
7

Above: on the left, the Reading and Leeds 2020 lineup; on the right, the same lineup with only
non-male acts. Edit: Indie is not a genre.
8
which no doubt injured this once £2.6
billion industry, festivals may be less
inclined to take the leap of faith into
more non-male acts, and instead grab
for the money-making (male) artists.
Meanwhile, independent festivals
such as End of The Road have already
met and even surpassed a 50/50 gender
balance in their lineups. This balance
can be explained by more creative
control over the event itself, and
the ability to curate festival bills based
on what they want, rather than what
will make the largest profit. Lara
Baker, former Marketing and Events
Director at the Association of Independent
Music, encourages festivalgoers
to “vote with [their] wallet and
get a ticket to a more diverse indie festival”
instead of the big names, in order
to show the demand for minority
genders in the headline slots.
The Keychange initiative seems our
most promising shot regarding festival
diversity, but it comes with its
own disadvantages for the industry’s
ecosystem. Making quotas for diversity
may lead to tokenism: a way of
“ticking boxes” without actually nurturing
gender minorities. This is the
case for Reading and Leeds. Although
2021’s initial lineup show two fifths of
acts are women, they bunch in the
‘also appearing’ section, far below the
headlines. Whilst this is much better
than even ten years ago, it risks perpetuating
the idea that non-males are
still just not up to the task of headlining.
We must not overlook the context of
Reading and Leeds as a rite-of-passage
festival after GCSE and A-Level re-
“
Tokenism:
a way of ‘ticking boxes’
without actually nurturing
gender minorities. This is
the case for Reading and
Leeds

sults, and gender minority individuals
are amongst those attending. Rachel
Maria Cox, founder of the organization
Sad Grrrls Club, notes that “if you
don’t see [equality in the music industry],
especially as a young person, it’s
hard to know it exists”. I would argue
that by sticking to the
same male headliners,
Reading and Leeds is
missing out on a vital
opportunity to make the
festival industry a more
interesting place, especially
with impressionable,
chart-savvy teens as
their target audience. If
the bucket hat-wearing
16-year-olds who smuggle
vodka into water bottles claim they
‘just don’t happen to listen to female
artists’, give them some!
Glastonbury certainly has an opportunity
to feature gender
minority talent further
up the roster as
well, seeing as
customers
don’t get a
glimpse of
the lineup
until months
after they have
scrambled to
buy tickets.
“
The talent – and the
headline potential –
is most definitely
here, and we have a
responsibility to
nurture it
”
2019 showed the amazing potential of
gender minority acts with its highlights:
Lizzo’s takeover of the most packed
West Holts crowd, attended by festival
goer and celebrity alike; Janelle Monáe
and Christine and The Queens – two
huge queer artists – filling out Sunday
headline slots on West
Holts and Other Stage
respectively; Billie Eilish
engaging a crowd so
sweaty and packed that I
almost had a panic attack.
The talent – and
the headline potential –
is most definitely here,
and we have a responsibility
to nurture it.
In order to conduct real change, those
with a voice must first start at the bottom.
It is not a coincidence that we hold
different genders to different standards
in the industry, and it’s no longer just
about giving these acts a place to sit
pretty. Affirmative Action goes far beyond
tick boxes, and we must evaluate
how we all engage with music and
artists of all genders. Female and
queer voices need to be amplified to
reach the same volume as the
men at the top, and
it’s up to the most
powerful to take
risks to make it
happen. The
clock is ticking.
If not
now, when?
Ezra Furman headlining
the Garden Stage at
End of the Road Festival 2016.
Photo: Matthew Parri Thomas.
9

A N A L Y S I S
How Poppy
Shrimpton’s
‘What He Said’
nails the sonic
representation of
bittersweet love
10
One of the things which sets GEMINI apart
from other music zines is musicology. In each
issue, we will take a look in-depth at a spotlight
track and dissect it: what makes it beautiful
to listen to? What musical characteristics
help to convey the meaning of the song? In
our first issue, we’ll take a look at the title
track of Liverpool-based artist Poppy Shrimpton’s
debut release ‘What He Said’ and analyse
some of the ways Shrimpton uses chords,
harmonies and melody lines to convey the
song’s topics of lovesickness, rose-tinted visions
of a boy, and the toxicity underneath.
Firstly, Shrimpton conveys a slight uneasiness
through verse melodies by playing with
tonality—this means the notes that fit within
the song’s key. Whilst the key of ‘What He
Said’ is B major, the track uses major seventh
chords—meaning the B often clashes
with its adjacent note, A sharp.
This interval is called the minor second—
think of the music which plays when the
shark is coming in Jaws—and is often used in
music to convey menace, instability, or unease.
Whilst the major seventh chord can actually
sound very beautiful, composers can
often play up the clashiness of its minor second—this
is what Poppy Shrimpton does.
Ending the phrase on an A sharp creates a
clash with the bass part, which is playing a B.
So, what does this mean? Taking in this dissonance
with the lyrics more literally, it implies
the singer feels some unease towards her love
interest, or perhaps her inability to stop thinking
about him. Interestingly though, this note
resolves to a B in the next line:
suggesting Shrimpton sees this person through
rose-tinted glasses; that thinking about him is
the issue, but the thoughts themselves are comforting.
This idea is reiterated by the lyrics later:
“I only see your sweeter side”.
Now examining the main hook of the song, we
can see how the vocal styling and rhythms represent
bittersweetness in the relationship. First
looking at the notes themselves, Shrimpton has
composed a three-part harmony which
moves in parallel—this means when one note
moves up or down, all of the others do too.

The melody rocks up and down in major triads
(happy-sounding notes equidistant to each other).
This melody is saccharine, and purposefully
so, as Shrimpton occupies the voice of her partner,
whom she sees through rose-tinted glasses.
Though, in the second part of this phrase, the triad
breaks into a clashier chord on “like”, and
sinks to the dissonant A sharp on “me” — possibly
showing the cracks and imperfections in this
individual.
guaranteed earworm, perfect for sitting in
your feelings to amongst local lockdowns.
The rhythm of these words also reflects this
meaning. On “you will never give it up, you’ll
never meet another man”, the melody is a gentle
swing, bouncy and even, like rocking a baby’s
crib—perhaps showing how the idea of this man
is a source of comfort for the singer. However, on
“like me”, the rhythm of the melody cuts across
the usual timing.
Looking at the lyrics themselves, this partner’s
words are manipulative, even toxic, and are disguised
by the syrupy harmonies conveyed by
Shrimpton, again showing “all the loveliness”
this individual “hides behind” in the relationship.
After another verse and chorus, Shrimpton
introduces a new chord (G# major)
which is completely separate from
the key of B major. Using a chord
which does not typically fit in the
key could also represent how this
character is not what was first
expected, or has changed from
the gentle sweetness of what
we see in the first run of the
chorus. Analysis aside, the inclusion
of this chord offers colour
to the repetition of verse
and choruses, making it sound fresh.
Poppy Shrimpton’s debut release
conveys real emotion through sonic
subtleties and beautiful imagery. This
lush, laid-back track shows great
promise from this artist, with an
abundance of hooks making this a
Poppy Shrimpton’s debut two-track
single ‘What He Said’ is available on
streaming services now.
@poppyshrimpton on Instagram.
11

S P O T L I G H T
S P O T L I G H T
S P O T L I G H T
S P O T L I G H T
Summer release ‘It Ain’t Cool’ by Niki Kand is a fresh
and infectious track with the sonic qualities of a piece
pulled out of Kali Uchis’ archives. Retro drum beats and lo
-fi, muted synth ostinatos loop as Niki’s high register
vocals glide effortlessly through the punchy rhythms, with
frank lyrics and melodies that will be playing in your
mind for hours. A little goes a long way in this song, and
the simplicity of loops and hooks gives this song its
undeniable charm—this is pleasurable pop at its finest.
12

S P O T L I G H T
S P O T L I G H T
S P O T L I G H T
S P O T L I G H T
‘George Foreman’ by Audrey Tunes is the debut drop
of Liverpool student, composer and producer Mili Payne,
and offers a promising glimpse into this new artist’s
discography. Swirling 80’s-inflected synths and vocal
treatment give this song extreme vibrance and clarity,
whilst drum tracks and pulsing chords show a retro take
on bedroom pop. Reverberated harmonies echo and make
the track crisp, highlighting soul-bearing lyrics from
Payne in the song’s climax: “Oh beautiful boy / are you
going to break me now?” A song definitely worth
recommending to lovers of 80’s music.
13

14
A S C E N D I N G
ANTONIA
Where did your journey as a
musician begin? How did Antonia
come about?
I’ve always been musical, my first
instrument being viola when I was 6 (I
bought it home from school thinking it
was a guitar!) I played piano too so I
first started to write little songs on the
piano. I started learning guitar at 16
and carried on writing. Over the past
three years I have been writing,
collaborating with different people and
only started to gig in Liverpool
December/January this year.
In 3 words, how would you
describe the style of music you
create?
Chilled, smooth and
soulful.
What does your
writing process
usually look like?
Are you influenced
by anything in
particular to write
a song?
It changes each
time but I’ll usually
find the chords
and then spend
time crafting a
melody I like.
Sometimes I’ll
have loads of
random
sentences in
my notes and
will try and work them
into a song. I definitely
have to feel content
With soulful melodies and beautiful
blues-y vocals, Antonia is already a
force to be reckoned even before her
first single release—named one of
LIMF Academy’s ‘Most Ready’
artists for 2020/2021. GEMINI
catches up with this rising artist to
talk musical influences, favourite
projects, and more.
and to have had closure on the
particular situation to be able to write
about it. I think that’s the best feeling
though, being able to write about
something that has taken you so long to
figure out how you feel about it. I do also
love writing with other people.
Who would you consider your
main musical influences?
When I was very young my sister and I
used to listen and dance to a lot of pop
like Lily Allen, Avril Lavigne, Florence
and the Machine, I basically listened to
whatever my sister listened to. When I
got older I became obsessed with Etta
James, Louis Armstrong and a lot of
Jazz and blues. This combination has
shaped my style. I have recently been
influenced by Daniel Caesar,
Izzy Bizu, Joesef, Jorja Smith. I
find it hard to pick influences
because I feel like I am being
constantly influenced, there’s so
much amazing music to listen
to and I’m always finding
new artists and
obsessing over
them.
Do you have a
favourite tune
or project - if so,
what makes it
special to you?
My song ‘Sober’ is super
special because it took me
so long to figure out how I
felt about the situation and
when it came together it felt
perfect. I also have a project

with Amelia Wallace where we wrote this
song called ‘Owe Me’ and it was perfectly
fitting how both of us felt at the time and was
just so good to get it out of our systems.
If you could have a dinner party with
any three creatives - alive or dead - who
would you pick and why?
Carole King and Billie Eilish because they’re
both such good songwriters. Etta James
because she had an insane voice and I used to
listen to her all the time.
In live gigs, you seem to have a great,
organic bond with your band mates.
What’s the story there?
The band only got together in September last
year. I started working with James Walker in
second year of uni, writing together and him
also accompanying me on guitar. I felt ready
to perform so that’s when the band came
together. We’re all such good mates and I
think that is so important because I feel
super confident and comfortable around
them.
“
that’s the best feeling—
being able to write
about something that
has taken you so long
to figure out how you
feel about it.
”
Check out Antonia’s
Sofar Sounds Leeds
session here.
@heyitstonez on
Instagram.
What does the end of 2020 and the
new year have in store for you?
I am really excited to be working with
LIMF this year, planning my releases and
meeting other cool artists. I hope to
release some music in the near future,
fingers crossed !! I’d also love to perform
with the band again so hopefully live gigs
can happen soon.
Can you recommend any artists/
bands/albums/songs GEMINI
should check out?
I’ve been listening to a lot of
Olivia Dean, all of her songs
are amazing. Lola Young’s
song ‘Blind Love’ is such a
perfect song, one I wish I
wrote myself. Biig Piig,
Still Woozy and Papooz
are also sick and put me
in a good mood whenever I
listen to them.
15

T O P P I C K S
Shirts (Zach Bahn Remix)
Nikki & the Waves
This spin on the band’s recent single
elevates its charming foundations with
new and exciting textures. Use of
bouncing sub-bass, drum samples, lush
string lines, swirling synths and excellent
use of delay on Nikki’s “we only go
around” solidify this as a mesmerizing,
almost hypnotic take on indie pop.
One More Day
Mollie Coddled
A refreshing bedroom pop banger from a
Leeds-based artist in her element. With
twangy guitar lines, pitch-bending synths
and Coddled’s crisp vocal delivery, One
More Day is to-the-point pop about a
complicated love, whilst giving us the
melismatic lines and sun-kissed
production fans have come to expect from
Mollie.
Slow Down
iamkyami, Sonny Miles
New York native iamkyami is a force to be
reckoned with in the Liverpool scene;
listening to Slow Down, it’s easy to
understand why. Mesmerising, down-toearth
vocals enveloped by jazz-inflected
chords and laid back shuffle beats give
this song its undeniable charm, whilst
Sonny Miles’ rapping and accented
harmonic lines aid in making this song’s
groove infectious. Slow Down is like a
fresh cup of coffee: comforting and
addictive.
16
Apart Together (Snowmelt)
Fraser West
This recent single brings ethereal folkinspired
soundscapes with solemn, hushed
vocal melodies and shimmering textures,
with airy harmonies and almost haunting
guitar slides guaranteed to induce chills.
Released in lockdown, with money from
sales and streams going to the Black Lives
Matter movement, this release is
particularly poignant in context. Apart
Together shows a promising glimpse into
his upcoming full-length album.

T W I N P I C K S
BMO (feat. Doja Cat) - Remix
Ari Lennox
With its retro R&B style, tight use of
harmonies and an infectious chorus, this
remixed version of from Lennox’s 2019
album Shea Butter Baby kept spirits up in
lockdown, and emerged a twin favourite
amongst the bleak months.
Umbrella Academy (Season 2)
Netflix
The dysfunctional superpowered siblings
return upon being accidentally marooned
in 1960s Texas, with a plethora of fight
scenes, a killer soundtrack, and another
apocalypse to beat. The incorporation of
Alison’s (Emmy Raver-Lampman) identity
as a black woman in the South emerged as
a standout arc, especially amongst the BLM
protests in America today. Seeing Vanya
(Ellen Page) in a relationship with “farm
Frau” Sissy was also a sub-plot highlight.
No Shame
Lily Allen
Allen’s 2018 release serves as gospel to
this year’s feelings of disconnection, loss
and self-reinvention. This album speaks of
marital breakdown and substance abuse,
emerging as her most raw and authentic
piece of work. Her playful sing-song voice
soothes as much as it hurts, fused with
stimulating electropop and notes of
reggae. Highlights include Lost My Mind,
What You Waiting For?, Pushing up
Daisies and of course the album-opener,
Come On Then.
Check out more tracks from
Liverpool artists and beyond with
our curated Spotify playlist HERE!
17

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