The Vamps Issue 9

HATC

THE VAMPS

Culture and Mental Health

CONTRIBUTORS

EDITOR-IN-CHIEF

ALICE GEE

THE VAMPS COVER

PHOTOGRAPHER - EDWARD COOKE

SUB EDITORS

JADE POULTERS

BRONTE EVANS

DESIGNER

ALICE GEE

CONTRIBUTORS

ALICE GEE

BRONTE EVANS

JADE POULTERS

HOLLY LOUISE EELLS

HATC TEAM

ALICE GEE

JADE POULTERS

BRONTE EVANS

A SPECIAL THANKS TO

THE VAMPS

NOAH CYRUS

EASYLIFE

TOVE LO

CAVETOWN

KODALINE

JACOB BANKS

GEORGE WEBSTER

SALT ASHES

NOAH CYRUS COVER

PHOTOGRAPHER - HANNAH FRIEDLAND

TOVE LO COVER

PHOTOGRAPHER - MONI HAWORTH

STYLING: ANNIE & HANNAH

HAIR: PRESTON WADA

MAKEUP: LILY KEYS

EASY LIFE COVER

PHOTOGRAPHER - JACK BRIDGLAND

CAVETOWN COVER

PHOTOGRAPHER - BLACKKSOCKS

PHOTOGRAPHER CREDITS

KODALINE - JENNIFER MCCORD

JACOB BANKS - ED COOKE

LEWIS GRIBBEN - DAVID REISS

GEORGE WEBSTER

PHOTOGRAPHER: DAVID REISS

STYLIST: FABIO IMMEADIATIO

GROOMING: BRADY LEA

FRESH PICKS - MEG ATKINSON

CONTENT CREATORS

ALICE GEE

BRONTE EVANS

JADE POULTERS

@HATCMEDIA

www.hatcmagazine.com

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CONTENTS

COVER INTERVIEWS

NOAH CYRUS

8

Noah talks HATC through the making

of The Hardest Part and finding new

beginnings.

THE VAMPS

14

The Vamps talk about the past ten years

as a band and how they are spending

their anniversary.

EASY LIFE

22

Easy Life speak about finding their

groove and their new album.

TOVE LO

32

Tove Lo opens up about the pressures

of finding fame and the importance of

doing what you love.

CAVETOWN

48

Cavetown talks to us about his music

and mental health experiences.

MUSIC INTERVIEWS

KODALINE

40

We catch up with Kodaline about what’s

in the making for 2023.

JACOB BANKS

52

Jacob Banks explains his most recent

move and the making of his latest single.

SALTASHES

72

Salt Ashes on her latest music and life

FILM & TV INTERVIEWS

GEORGE WEBSTER

66

George Webster tells HATC about his

latest roles and his hopes for the future.

LEWIS GRIBBEN

81

Lewis tells us about his childhood,

Autism and finding escapism in acting.

FASHIION

EELLS

76

Fashion feature on EELLS.

CULTURE

READING FESTIVAL

60

Images from Reading Festival.

HATC FOCUS

RECOMMENDATION

30

HATC’s handpicked recommendation.

FRESH PICKS

86

HATC Fresh Picks focuses on the best

new music and artists.

HATC PLAYLIST

102

HATC Issue 9 playlist picks.

FRESH PICKS PLAYLIST

103

Our Fresh Picks playlist.

CONTRIBUTORS

THE OTHER BRONTE

SISTER

45

The Other Bronte Sister covers Harry

Styles Love On Tour.

TRAVEL

LISBON

90

We travel to Lisbon in search of a well deserved

break, focusing on our wellbeing.

EDITORS NOTE

A new lease on life. Something we all

search for at some point. Issue nine sees

the exploration of new leases of life with

cover stars and guests, each delving into

the present moment, future hopes, and

the relief that comes when we find a part

of ourselves that we thought we’d lost.

Over the months leading up to September,

we’ve sat with guests in person or

over Zoom and spoken in detail about

their latest endeavors, exciting new

projects, and everything in between. Although

each person and circumstance

remains individual, we often find common

themes that overlap, intertwine, and

connect through conversations. Whether

the topic of discussion is focused on

culture or mental health, we’ve found that

many share similar thoughts, experiences,

and even questions.

As for a change in direction, I learn that

each guest’s new lease on life is different,

with many coming from opposite scenarios,

emotions, and situations. The Vamps

themselves talk about the highs they’ve

shared following ten years of a making

music as a band, as I learn of the excitement

surrounding their tenth-anniversary

tour and the prospects of what’s to

come over the next decade. So whether

they are emotions of happiness, anxiety,

or uncertainty of the unknown, It’s

evident to me that every highly personal

moment is heading to new beginnings

and new leases of life for every single

one.

Editor-in-Chief

Alice Gee

As I sat down to what would be a remarkably

open and vulnerable conversation

with Noah Cyrus, as the success and excitement

of her album compete against

the grief she is feeling, she took the time

to share with me the highs and lows that

come with dealing with trauma and recovering

from addiction. Tove Lo spent

time speaking at great length about finding

her voice, both in an industry dominated

by men and in her personal life, following

anxiety-ridden moments like her

rise to fame and life-changing surgery on

her vocal cords. What stands out is her

readiness to enjoy the next stage of her

life and all that comes with it.

@HATCMEDIA

www.hatcmagazine.com

NOAH

CYRUS

Noah Cyrus is a force of nature. The release

of her debut album is something I can only imagine

as incredibly overwhelming in the best

way. But with the recent loss of her Grandmother,

I ask her how she’s been in the run-up

to the album.

“I’ve been better, and I’ve been worse. My

Grandma passed about a week before my

Grandma on my mother’s side, two-year anniversary

of her passing. So it’s all a bit painful

right now. I am just internalising it all, but I actually

feel like I have a lot of surrounding peace

around the situation, which I am incredibly

grateful for. I’ve definitely been attempting to

heal while hurting. But personally, I’m also very

good.” As she sits with her dogs, Noah explains

how she’s been In Nashville for the past

month alongside family members, spending

quality time with her Grandmother for the last

few weeks of her life. Being in Nashville, as a

city, however, was a change, Something she’s

missed as she readjusts to LA life. As she simultaneously

balances the polar opposites of

grief and massive success, she opens up to

me about the regret she’s felt surrounding loss,

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specifically her Grandmother on her mother’s

side. “At the time in 2020, I wasn’t mentally

there or capable of showing up for many of the

people I love due to my complete self-isolation.

We didn’t get to see each other for about

six months because of COVID.” Pausing for

a moment before continuing, she explains, “I

also feel like, as a granddaughter, I could have

picked up the phone more and done many

things differently.” Having spoken about her

struggles with drugs with Rolling Stone, Noah

expresses more of the emotional side when

addressing recovery and how she sometimes

feels unhappy when facing memories. “When

I woke up from everything, later in 2020/ early

2021, my mind was much clearer from coming

off the pills; I was so unhappy with how I

had communicated with everybody. So this

time, I really wanted to do things the right way.

I wanted to say my goodbyes and have that

quality time I knew I’d never get back,” she explains.

“I’m so grateful and happy that I could

consciously make that decision for myself this

time.”

Having experienced and witnessed the difficulties

of relying on substances, I think it is somewhat

understandable. The End of Everything

singer clearly knows where her feelings lie

from the problems she’s experienced. “The

shame and guilt that I feel is something I work

on daily from the mistakes I’ve made throughout

that period, or even just in my life.” As she

moves towards one of the most significant moments

in her life, the release of her debut album,

Noah dissects the moments of grief she feels

at this moment in time and the new perspective

she intends to take. “I’m going through a

period right now where I’m feeling a lot of grief,

guilt, and shame from some of the mistakes

I’ve made in the past,” I question what she’s just

said, noting that it’s ok to feel everything under

the sun even if others don’t, “I was also very

young. And I’m still very young. I’m only 22. So

I like seeing it, as I’ll probably make many more

mistakes. And that’s ok.”

For Noah, the release of The Hardest Part has

been a long time in the making. It’s an album that

speaks so openly about her experiences with

mental health, Something she’s been so honest

about, poignantly addressing these parts of life

with fans online. As an album, it’s incredibly well

thought through from every instrument, melody

and lyric that delves so deeply into the life

she’s experienced.

“I wrote many songs about a lot of what I’ve lost

in my past. In some of the songs like ‘I Burned LA

Down,’ “My Side of the Bed,” and “Noah (Stand

still)’, I was able to write from a clear space that

I’d entered from coming off of drugs. While the

other half where I was in this alternative state

of mind and a pretty toxic relationship,” it’s a

relationship she’s written about throughout the

album with some of the songs in her pocket

since being signed to her label from 16 years

old. It seems she’s lived a lot of life since her debut

single, with an album that you can only assume

had some role in helping her heal. “I wrote

a lot of new material that helped me heal. But I

would say the most healing part would be the

production side of it with Mike Crossey and PJ

Hart”. Spending the best part of 2 years writing

with PJ Hart and Mike Crossey has been a key

space in which Noah has been able to heal. It’s

apparent its been a safe space where she felt

inspired to create and record organic music.

Its styling, you can tell, has come from both her,

Mike, and PJ Hart. And a routine she’s craved,

having left behind a difficult yet crucial year, as

she moves towards a new life following sobriety.

“I had a hard time finding balance and figuring

out what my new life would look like without

that. So feeling purposeful, working towards an

end goal, which is making music for me to be

able to share who I am with the world, has been

my drive towards healing.”

Healing has been a big part of the process, as

Noah lights up in front of my eyes, explaining a

little more about the production behind her debut

album. “It was just an enjoyable experience

overall. I have never been so involved withi production.

I got to experiment with my own musicianship

and find what gravitates to me.” It’s

Something she’s passionate about, from every

instrument, as she tells me about her favourite,

the pedal steel, aiding her in creating the mu-

sic she’s envisioned for so long. “I have found

so much love for the actual music through this

process. I never felt so inside of it before.”

Partially created using CGI, Noah had the opportunity

to create an entire world, being able

to dictate a vision just as she imagined it, Something

once surreal that came to life. The cover

she tells me has been in her head for the entire

project, a recreation of a field at her Dad’s farm

in Nashville. “I write a lot about that place, it’s a

sacred place for me within my album, and so I

wanted to be able to show a piece of that.”

Noah is no stranger to the industry, with her debut

featuring Labrinth peaking in the top 50 of

the billboard charts. Since she’s released three

extended plays with The End of Everything being

nominated for a Grammy. I quib to her that

it’s no mean feat to be in your early 20s to be

nominated for a Grammy, something she tells

me she’s yet to get over. The morning of the

Grammys, she confesses, was an emotional

one. “I was in disbelief, thinking maybe I don’t

even deserve to be here. Something that I think

is part of me and my trauma, is not allowing myself

to be happy” Having had some time pass

she explains how it’s now Something extremely

unreal to her. “I don’t think I’ll ever be able to sum

up, the feeling you get when your peers feel the

same about what you have created”. And as for

the advice that’sshe attributes in helping her

accept the achievements she’s come to experience,

even she thinks it sounds cliche “my dad

keeps telling me to keep achieving my dreams

and working towards them by setting goals,

something i’ve done ever since.”

As a fan, it’s been exciting waiting for her debut

album, seeing glimpses and performances of

what can only be described as exceptional, as I

start to imagine how long she’s been waiting for

its release. With the release imminent, when I

interview Noah, I ask about her excitement surrounding

her American tour dates. “I can’t wait

to get out there and see a lot of familiar faces,

as well as a lot of new faces in the crowd. Being

able to physically connect with people again is

going to be incredible. To be able to feel that all

together, I think it brings you a completely different

experience of the sound, especially with

the live show that we’ve created.” Noah tells me

her response to fans coming up to her in airports.

“I know it’ll be a nice surprise when people

also hear the full album realising I’m bringing

many of those elements heard in my album to

the live show.”

Throughout our interview, I’m incredibly humbled

to have had Noah be so open about multiple

journeys from making her debut album

to such to finding her footing in new ways of

coping. “When I started coming out about my

mental health journey, I felt very relieved that it

was being more accepted as a topic. I felt like

I could get a lot off my chest not only in interviews

but in my music and personal life.” As I

tell her how Head Above The Clouds hopes to

create safe spaces similar to those campaigns

she’s developed through The Lonely Collection,

I hope she knows how many she’s inspired.

“What I’m trying to do in this new chapter of my

life is to not preach nor be a spokesperson for

recovery but instead be someone who’s there

and experiencing it with everybody. If I can do

my part by being open and honest and writing

these songs, teaming up with incredible people

and foundations, then I can help others. So it’s

become so important to be open and honest.”

It’s not only a conversation Noah’s creating but

space for her fans, including those who are yet

to be introduced to her, to feel safe and find escapism.

For Noah being honest is enough, it’s

been pinncale in helping create safe spaces,

and to those who come accross her music or

work, I know they benefit from the legacy she’s

created.

Words: Alice Gee

12

THE

VAMPS

Ten years of pivotal moments, I exclaim to

The vamps as we chat at Universal Records

headquarters in London.

Formed in 2012, The Vamps have become a

worldwide sensation, taking the industry by

storm since their first release with dedicated

fans all around the globe. With ‘Can We

Dance’ amassing over one million views in its

first two weeks of release, The Vamps have

seen hits champion the UK charts over the

past ten years. With notable features including

Demi Lovato and Shawn Mendes, there’s

no mistaking the success they have reached.

Looking back at their achievements, including

being the first band to break the record of

headlining London’s O2,, there’s no denying

the ever-long list of monumental moments.

As I explore these moments with the boys,

they appear just as excited about them ten

years on.

“I think when you have moments like that,

they’re quite hard to take in at the time. We

were speaking about this earlier: how we instantly

think about the next thing or how we

often play these moments down. Maybe it’s

a British thing. That said, we’ve tried to get

better at taking the time to celebrate and

acknowledge what we’ve done as a band.

It’s funny as last year was the first time that

we’ve ever really like gone on holiday and taken

that time off. So we are following suit this

year; we’ve just planned a holiday, four to five

days away, to enjoy and celebrate what we’ve

done. We’ve noticed that it’s essential to take

a moment to admire what we’ve achieved.

Essentially you’re instilling positivity into your

life, and I think everyone should do that. Remember

if you’ve had a great achievement

because it’s the best kind of positive reinforcement.”

People often find it hard to be content in the

moment I respond, something I can only imagine

is made harder with the pace of their

career moves. Yet having started so young

with their first single, I can only assume the

expectations they may have felt.

“For me,” Tristan explains, “the process of

constant comparisons has started to level

out. When we left school, we went into an

extremely competitive world. You get thrust

into this world, which is intense. At the time

you’re always comparing yourself to the best.

I remember the process of us releasing a new

song and instantly wanting to beat the success

and recognition we got from it. It can get

out of control; I remember we were pissed

off when we didn’t get number one (we got

number two) with ‘Counting Stars’ and ‘Can

We Dance. It’s straightforward to get caught

up in numbers and become unhappy. So it’s

a leveling out of expectations for the vision of

where you want to be. Always aim to be there,

but it doesn’t matter if you don’t completely

get there. The pressure people put on themselves,

the timeframes, it almost becomes

impossible.”

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It’s not entirely a surprise to hear about the

pressures from an industry that is so competitive,

but the evolution the band has seen

in the past ten years is something worth celebrating.

Their sound has seen new influences

and inspiration over each of the five albums,

which have seen critically renowned praise

from fans and industry critics. Their most recent

album Cherry Blossom embraces a shift

in direction with a grittier and more vibrant

sound; I sing the album’s praises asking how

their sound naturally evolved from their first

album.

“I think it’s been a natural evolvement. It’s funny

because you live with an album for double

the time fans do.” Connor explains, “So

by the time you get to the end of one cycle,

you’re like, I want to do something completely

different, which is what happened. We’ve

always been very open-minded as a band.

We’ve been lucky that each kind of reinvention/new

style has felt good and sat really well

within the band. Of course, we’ve changed

little bits on the third album; we went into a

dance mindset, collaborating with DJs, which

was amazing. But originally, I don’t know if we

would have been able to say the direction we

were moving toward sound-wise, especially

Cherry Blossom. Still, it is our favourite thing

that we’ve ever done. It opens this new world

to us, meaning our approaches as a live band

are completely different. I think we’ve fallen in

love with the constant reinvention, which is

part of why we have got to 10 years.”

Having touched upon contentment, it feels

slightly odd to ask about their upcoming tour

and what their hopes are, incase I to ruin the

moment.

“We’ve always enjoyed what we’ve done. But

in contemplation, it has taken us time to truly

understand the magnitude of what we’ve

achieved and how privileged we are to be in

this position where we can do this for a career.

I (Brad) think it’s for me, and it’s taken

ten years to figure out myself and the experiences

a bit more. If we can carry on with the

feeling that the four of us are going into this

for another ten years, then that’d be good. But

in terms of where we go from here, I think we

want to be able to live more at the moment,

we’re in a perfect place, so it’d be nice to enjoy

the ride.”

What an incredible ride it will be for both

them and their fans, with headline shows set

across two months in some of the UK’s largest

arenas. As we talk about their upcoming

tour, Connor breaks down what fans can expect

from their setlist. “It’s the first time, and

it’s not specifically aligned with a particular

album. So the setlist will be a cover of 10 years

which I think will be fun. Hopefully, fans will feel

a sense of going on a journey with us. It won’t

be chronological, but you’ll get a sense of that

coming to the show and moments of reflection

from the songs. We’ve got the bones of

the setlist ready, so it’s now filling in the gaps.”

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And as for what goes on behind closed doors

on tour, I wonder about the tour antics that secretly

go on…

“We used to have a warm-up before we went

on stage in the theme of Fruit Ninja. It was

quite dangerous looking back on it now, and

I’m pretty sure we had the knife taken off of

us...”

As a road trip lover myself, I can’t help but imagine

how special it must be to share these incredible

moments with each other, it’s something

I suppose makes the extended amount

of time away from home a little easier, being

able to rely on and support each other emotionally

as a brotherhood.

“I think what you said about having each

other is so important. It does get hard when

you look at it, and we’ve all had our ups and

downs.” Brad tells me. “But I think doing it

together has been our saving grace. It just

highlights the importance of having people

around you.” continuing “No matter what

you’re going through, loneliness is a tough

thing. A lot of people suffer from loneliness.

Having the guys who can pull you out of that

lonely place can be just what we as humans

need. At times as much as it may be your instinct

to push people away and suppress

things, it’s essential to remember you don’t

have to do it by yourself. There will always be

people and places to help you.”

It’s nice to see all four smile and warmly look

at each other as Brad consolidates how

meaningful their relationships are to each

other. Having journeyed across the world for

ten years together doing what they love, hit

after hit, it’s nice to see them take a moment

to enjoy the success they’ve had. But remains

of our conversation is that they are and will

remain a brotherhood, one they can always

rely on.

Words: Alice Gee

21

EASY

LIFE

I’ve probably caught easy life’s Murray Matravers

at the worst possible time. It’s 17:30 pm in Japan,

where the band was performing at Tokyo’s

Summer Sonic Festival the night before. What

followed was a seemingly mega night out, a highspeed

bullet train to the next stop with a heavy

hangover and a failed hunt for some greasy comfort

food. “All I could find to eat was mackerel sushi,”

he tells me over a very shaky connection, “so

it’s not treated me very kindly today. I’m feeling a

bit worse for wear.”

The band is currently festival hopping around

the world, treating fans to some old favourites

and fresh new bangers from the second album,

Maybe In Another Life, which comes out next

month. The immersive and ambitious project in

sound and storytelling takes the one-of-a-kind

British band to a whole new level. Introduced by

a stellar run of singles, it includes features from

Brockhampton’s Kevin Abstract and Kiwi alt-pop

superstar BENEE. Influenced in equal measure

by the manic, hip-hop energy of Odd Future all

the way through to the 70s nostalgia of Elton

John. With a colourful visual palette inspired by

the wonderful worlds of Disney and Wes Anderson

alike, the album is one of silver linings and

making sense of the world in both its chaotic and

melancholic moments, which takes the band to

new creative heights.

If debut album life’s a beach was easy life’s most

sunny side up, optimistic study of Middle England,

then lockdown really did a number on Matravers,

whose shank sharp observations on

modern British life really cut through hard the

second time around. What’s emerged is an expertly

realised vision of masculinity, which encourages

us – via straight-talking or exuberant

world-building – to find joy in the journey, not just

the destination.

The album drops amongst a flurry of activity

for the group, who kicked off their festival run in

May after a massive US tour. They also recently

announced a huge UK, European, and North

American headline tour for 2023, including their

biggest-ever dates at London’s Alexandra Palace

and Nottingham’s Motorpoint Arena, and a

sold-out record store tour soon to make its way

across the UK. It’s been a whirlwind of a ride for

the five-piece, so I take this small respite in their

schedule to reflect back and look forward to

what will only be an even bigger 2023.

“There was a lot of anticipation around our first

album, from the fans, from the industry, so we

put a lot of pressure on ourselves to deliver our

debut album as best as possible. I think, in general,

we as musicians are very ambitious. We put a

lot of pressure and stress on ourselves, so it was

nice to get that first one out and out of the way.

The second one came so much easier. I wrote it

in secret. Actually, I didn’t advertise the fact I was

doing it and just sat down and got on with it by

myself.

The album itself is amazing, but the process of

writing it was incredible. It was such an incredible

time. The process is so important. I feel like if I enjoy

writing the music, then nine times out of ten, it

turns out great, whereas if I’m not enjoying it, not

feeling it, maybe writing it for the wrong reasons,

then it’s never good’s pointless. I’m actually now

really looking forward to getting started on the

third one now. As soon as I finish something, I’m

kind of over it straight away and want to move on

to the next thing straight away, and because I had

such a good time writing this album, I just want to

keep writing.”

Like most 2022 releases, Maybe In Another Life

sprang to life in the latter half of the pandemic,

when the optimistic “we’re all in this together”

spirit had long faded away. The reality of a second

Christmas without loved ones was looming,

a darkening mood creeping into the thematic arc

of the record.

“I started writing at the back end of COVID, sort

of as we were coming out, but while it was still going

on. The world was still closed up as we were

going in and out of lockdowns, so that feeling

of anxiety and insecurity we all felt is definitely

laced throughout the album. I’m normally moved

to write songs when I’m feeling melancholy. I

wouldn’t say the songs I write are particularly

happy songs, you know. If you play the instrumental,

yeah, they are uplifting, and I think the

album, in general, has a hopeful note. We’re all

optimists at easy life, but I do talk about stuff quite

profoundly.

If I’m experiencing something, chances are

everyone else has, so I feel it’s essential to write

about those things if it’s just missing the train

or something more shocking. Even if it is the

most boring pedestrian surface-level issue,

you can only write about your experiences, but

everything that happens to me has happened to

most other people at some point, so it’s good to

talk about it and get it out there 100%

I think it’s very easy to be defined by something

like anxiety or depression. I talk about it because

I experience it daily, sadly, and I know countless

other people do too. Increasingly so it feels with

young people in England. So it is something I

want to talk about, but I don’t want it to necessarily

define our songwriting. I don’t want people to

think of easy life and think of mental health issues

because - yes, it’s worth talking about, but especially

now, it is an aspect of life that is becoming

less of a big deal because we have created communities

which allow us to be vulnerable and

have a whinge about not feeling right all of the

time. So I wanted to write, and I think we have

created a positive record nonetheless.”

While the group doesn’t want their struggles to

define their music, they definitely play a massive

part in the songwriting process. Matravers

doesn’t think he could write the songs he does

without his struggles, nor would he be able to

overcome them without turning them into art.

“I’m always searching for new ways to tackle

feeling overwhelmed. I’m doing a lot more exercise.

If you go see a doctor, the first thing they’ll

tell you is, ‘you should probably do some exercise,’

but it’s hard to exercise when you’re not

feeling motivated.

I’m not sure if it’s completely helping or not, but it

is definitely one of those things that take you out

of your own head -so exercise, yoga, and reading

are all really enjoyable for me. But genuinely,

I’ve always said that writing music is an amazing

sort of form of therapy, or it certainly is for me. As

I said, I do it a lot of the time on my own, so having

that time to write lyrics, melody, chord structures,

and whatnot, just that feeling of the music, actually

helps me explain things to myself. It’s hard to

know at times how you actually feel in yourself or

how you feel about a situation, so lots of the time,

it’s when I finish a song that I realise that I’ve just

explored that situation or my anxieties, insecurities,

and vulnerabilities. It’s cathartic, but it’s also

subconscious a lot of the time, those feelings just

come out, and it’s then you can read back and understand

what emotions you are actually feeling.

I’m lucky to have the time to do that, to be honest

with you, because, you know, a lot of people have

to plough through and put those thoughts to one

side, and they end up pilling up, and the stress

buries them. Songwriting is like meditation for me

-although I’m really bad at meditation- it’s relaxing,

it’s freeing, and there are no rules.”

Since live events as we knew them were given

the green light again last year, the boys haven’t

stopped with two rounds of summer festivals,

two UK tours, a US tour, and a European tour all

packed away. With over 30 more dates locked in

for early 2023, it was understandable that it took

Matravers a few seconds to remember where he

had been these last twelve months. I wanted to

know how all this time on the road has been for

them, both physically and mentally.

“We’ve done a lot of touring this year. I’m trying

to remember, we did the UK at the end of last

year, right? Then Europe, then America, and now

we’re in Asia - oh, and we did like all the festivals

we could this summer as well. It’s been pretty relentless,

to be honest, but bro, it’s amazing! I love

touring, it can be really hard with the lack of routine

and the instability of it all, but through all the

troubling and gruelling times, we must remember

that we and the audience are teammates. These

are really special moments where you meet fans

and hear their experiences and how they experience

and interpret your music, and it’s so rewarding,

and it’s so special, it still blows me away.

You know we are in Japan right now, and we’ve

had people wait for us at the airport to tell us that

the music has helped them through dark times,

or been there in good times, or whatever it may

be. It’s wild, like it’s completely bananas, to be

honest with you. I’ve met so many inspiring young

people who have been through so much, you

know, so much trauma and so many hardships,

and to find out our music has played a small part

in their defiance against the world is just so special.

It’s the greatest accolade that anyone could

have given us.”

Their new album, out October 7th after a twomonth

delay, marks a new era for the group, one

that is less urgent and chaotic but more delicate

and balanced. If life’s a beach was the rowdy,

bucket hat-wearing 16-year-old at their first

Leeds fest post GCSE results day, then Maybe

In Another Life is the punter at their third Glastonbury,

they know where they’re going and are

far more self-assured.

It feels like the band has taken a big step forward,

experimenting sonically with their already complex

mixture of hip-hop, indie, jazz, and dance

and elevating things to a whole new level.

28

From the get-go, the first song, ‘GROWING

PAINS, ’ attacks you with the band’s newly matured

style with moodier instrumentation, deeper

vocals, and lyrics more obviously hard-hitting

than anything from their debut. The next track,

‘BASEMENT,’ is similarly more sassy and assertive,

the punchy house track is confident, winking

at arrogance with the line “I don’t owe anyone

an explanation/everyone thinks I’m amazing!”

but fans know it’s all in good fun. The third track

‘DEAR MISS HOLLOWAY’ is a stand-out for us

nostalgic, unironic BUSTED fans at HATC, the

collaboration with Kevin Abstract is the cornerstone

of the album explained Matravers, the

bridge between their debut and sophomore

outing. It’s youthful, optimistic, and a touch naive

in the retelling of a crush on an old teacher, the

more true to life “What I Go To School For,” perhaps.

“Can I just - on the record,” starts Matravers as

we discuss the song’s meaning, “because people

keep messaging me and stuff. Miss Holloway

isn’t a real person. She’s a fictional character because

if I had actually written a song about, like

yeah, someone who would now be quite an old

lady by name and have this be the way she found

out about it, that would be so weird, really inappropriate.

So the character is fictional, but the situation

is real” Noted. “While we are talking about

it, I want to mention the music video for it. With all

the claymation, it took months to make that video

it was the most tedious thing, so I’ve got to shout

out William Child, the absolute genius who made

it - he also helped design the artwork for the album

as well, he is amazing, and we were really

stoked to be able to work with him.”

As we round up our conversation, wishing the

boys all the best on what will be a genuinely

eventful 2023, I reflect on the last track to the record

‘FORTUNE COOKIE’ and its closing lines,

words I think we should all, moving forward, live

by. “if you believe you’re in need of repair, take

care,”

easy life’s second album, Maybe In Another Life,

is available now.

Words: Jade Poulters

29

GRACE

Grundy

Having amassed millions of streams for

her covers of popular hit songs, Grace

Grundy has begun her journey to pop

stardom. Since her Boys On Posters

release, Grundy has featured on tracks

with electro duo Gorgon City, Hybrid

Minds, and British band Asking Alexandra.

With the release of her debut EP,

Grundy embarks on the next part of her

journey. Moving from writing songs in her

bedroom to the studio and further.

Send your music. Get listened to.

And receive guaranteed feedback.

Detecting talents in advance and accelerating their careers.

WWW.GROOVER.CO

TOVE LO

I sit down with the queen of pop herself, Tove

Lo, late evening Monday, excited to delve into

the making of her new album ‘Dirt Femme. ‘

The Djursholm-raised pop star joins me smiling,

full of energy from what looks like a studio

space in LA. Looking relaxed and comfortable

from our initial pleasantries, I’m quick to

jump into the interview, curious to learn a little

more about the singers’ early childhood and

that all-important move from Sweden to the

city of bright lights, New York, before settling

in LA.

“I lived in Sweden until I was 27. From there, I

ended up in New York, and afterward, I moved

to LA. From 2004 When I started writing

professionally for other people, I traveled

nonstop.” As Tove Lo talks more about the

move, I ask where she prefers to call home.

She pauses for a moment before telling me

of the ever swaying of emotions when it came

to now choosing LA over being a New York

resident.

“It’s a big cultural change from LA to New

York. For the first two years living in LA, I wondered,

what am I doing here? Everyone told

me to give it time, and now I love it. I couldn’t

live anywhere else. Although I probably won’t

live there the rest of my life, I love it. I live with a

great group of friends. I love my house. It’s just

a nice place to return to when constantly traveling

and on tour.”

Following the release of her debut album in

2014, Tove Lo sparked instant recognition

and success for her second single “Habits”,

which peaked at number three on the

Billboard charts. The star herself rocketed

to fame overnight, a world away from the

one she knew. Having cultivated such exposure

and interest almost instantly, I wanted

to speak about the social changes she

must have faced, curious about how life has

changed.

“I was in the States when it took off. I went

from indie radio interviews in Sweden to this

American music machine. That was a bit of a

culture shock. I think just in general, being a

pop artist on a major label, you’re expected to

handle things, especially all sorts of supperficial

things like wearing makeup, having your

hair done and being styled, that aren’t necessarily

music-related. It was a different world.

But I eventually viewed it as another way to

33

express myself and have a lot of fun. But in the

beginning, I wouldn’t say I liked sitting in hair

and makeup. I just felt like it didn’t look like myself.

I didn’t know what I liked. What surprised

me was people acted like I should know because

I was 26. I’d only had the start of a pop

career in Sweden. They didn’t understand

that this was my first song, my first experience

of all of this. Honestly, at the time it was

a mix between it being amazing, and thinking

I cannot believe that this is happening to me

but also being terrified.”

It seems complicated to imagine waking up

to such a stark difference in 24 hours, “I think

you’re so in the moment you don’t feel like

much time is passing. When I think about it,

it was so fast from the time I played my very

first show to when everything was taking off. I

don’t think I could have prepared for that.”

Embarking on her American tour throughout

November, Tove Lo acknowledges the excitement

and difficulties of being away from

home for so long.

“The thing is, I never used to miss going home,

I loved to be out and about. I felt more rooted

in the tour bus with my band. I felt very free.

Even if I was working, I somehow felt free of

everyday obligations. I didn’t have to show

up for people. I guess I had a sort of lack of

responsibility. I didn’t like having too many

demands and relationships, which probably

tells a lot about where I was. But I think things

changed after the pandemic, and having to be

at home for two years. I had created a home

that I love. My husband and I live with three

best friends, and we all share a dog. We like to

have parties and have people come around. I

will miss it, but I can’t wait to return to touring.

I’m so happy to be back on the road.”

As we move back into normality, post-pandemic,

it’s hard to avoid what’s been left behind

from the break in our routines. Tove Lo

explains that amongst the anxiety and sorrow

of the pandemic, she’s open to what’s been

learned.

“In ways, something good had to have come

out of it, for many people it was learning

something. Otherwise, we have to ask if we

have learned nothing. I think many people

reevaluated their lives and had the opportunity

to make some changes. Although so many

people had the most horrible traumatic time

in their lives, I think that it’s okay to take something

good from the situation.”

As for changes, Tove Lo’s embraced a big

one as she shows me a picture of the dog she

adopted over Lockdown. “I’m a big dog lover.

Originally we fostered her. I had contacted a

foster family in Lockdown to see if I could look

after a dog for a few weeks or months. They

reached out and said we have this dog that

was found with these other puppies about

a week old. We took care of them all before

they got adopted at nine weeks. That day, we

had this moment where we couldn’t give her

away. I just couldn’t let her go.”

We digress as we pull ourselves away from

sweet photos of their family pet. Following

on from our earlier conversation of lessons

learned, I’m interested in the culture shock

Tove Lo mentioned following her progression

to fame, “I do feel because now I’m 34, I don’t

feel like the same person I was when I started

out. So although that maybe means that I’ve

changed in many ways, I still feel I understand

the person I was. I guess it’s trial and error,” as

she explains the difficulties that come hand

in hand with industry assumptions and having

your opinions heard. “I always put my foot

down. People will always get uncomfortable

when you say you don’t want to do something.

I used to care about what they thought

but not so much anymore.”

“It’s funny because I did a shoot here yesterday,

and in the States it’s different. Something

I’ve noticed when you do fashion shoots for

a magazine here is no one objects to what

they wear. Sample sizes are very, very thin if

you’re a normal-sized person. If I’ve promised

to shoot this outfit on me, and it doesn’t fit, you

have to make this work. But I can’t do it if I’m

not comfortable due to sizing. I will say no if it

doesn’t fit, but I used to take it as my responsibility

that my body wasn’t fitting it.”

The only words that could come out of my

mouth were how triggering the ordeal must

have been for her, “I’ve worked so hard on

getting to a healthy relationship with food

and loving my body from my experiences

with an eating disorder.” I can only imagine

the difficulties from having my own experiences

with disordered eating. “I almost feel

like if I hadn’t gone through with saying no to

people, I would be more fucked up.” She continues

confidently, “I am so happy that I was in

a good place for years before I started being

in the public eye. The sort of comments you

have to handle and the environments you’re

thrown into where people will openly say it’s

your fault. You’re a musician, an artist. That’s

not what I signed up for.”

Having carved a space where she could blossom,

it’s clear to see how Tove Lo can champion

the creative process. Something that

stands out to me about her upcoming album is

how well thought out the narrative is in terms

of the sound and the accompanying visual

elements. This creativity has been integral to

her music from the beginning, helping propel

her to new heights. The few visuals released

are captivating, or as Tove Lo describes them

“Wonder Woman big dick energy”. Examining

the video shorts, it’s hard not to be intrigued

by the aspirations behind them.

“I’m making the scenes that I really want.

Because of how visual we are now, I wanted

to make a visual story about everything.

Ultimately I couldn’t make 12 videos with the

budget I had, but I still wanted there to be a

visual experience for every song on the record.

It’s sonically cinematic, dramatic, and

emotional, and much of it concerns my relationship

with my femininity and fear of the

phenomenon. It’s a theme running throughout.

I wanted to assign a kind of movie character

based on a side of mein each one. In one of

the scenes, you have a damsel in distress

who is getting saved by this other very physically

strong woman, a nod to Alabama in the

movie to Roman Summer, this wonderful big

dick energy. My goal was to have a sense of

power, owning and accepting yourself even

when you’re vulnerable”.

It’s a sentiment embodied in what feels

like a unique mural of diverse sounds, from

stripped-back songs to electro-pop anthems.

“Honestly, in the beginning, I was

nervous, worrying it was too many sounds,

landscapes, and Swedish expressions. It’s

contradicting at times but I recognised that

every human has all the cycles showing different

moments of themselves. I think the

thread that ties them together is me and my

words.”

As we touch upon the concept of words, it

feels like the right moment to talk with Tove

Lo about the anxiety involved with her voice

when going through vocal surgery.

“It was probably one of the hardest things

I’ve had to go through. In my life, at that point,

it was just a combination of things. I was in a

terrible relationship, and it was just after my

first album came out. There was a lot of pressure

on me. At the time I was being told this

is your moment; keep your momentum. That

was the energy, but the worst part was that

people didn’t really believe me when I told

them I was unwell and that I needed to go to

a vocal doctor, nor did they believe my doctor

in New York as he’s telling me you cannot sing,

even talk on your vocal cords. Everything

was falling apart. At the time I wanted to do

everything, but I physically couldn’t. I was going

to open for Katy Perry in Australia, which I

had been looking forward to in forever. I talked

to the doctors, and they compromised, they

said you can if you want, but it won’t sound

perfect. It was a 30-minute set, with no interviews

or talking, and then they’d do the surgery.

When I got back from the surgery, it was

just this feeling of pain, but all I needed was to

hear that my voice was still there. I had to wait

five days, which was a very traumatising time.

After eight weeks of recovery, I didn’t recognise

my voice by the end of it. It took me two

years to get back to some form of normal.”

Being so open about the struggles involved

with not only the surgery but healing both

physically and mentally, I wonder whether

being so genuine and honest about it and

her other experiences with crisis and mental

health have helped?

“I think, in general, you very quickly realise that

you’re not alone when talking about things.

People are starved of talking about things

that are hard for them or when being vulnerable.

I grew up with a mom as a therapist, so I

was encouraged to talk about my problems. I

feel like it’s always been close to me to share

what I think and feel. But it’s not always been

granted as I haven’t always felt safe sharing.

But when I think about writing music about

what I go through, even if it’s just my mind, my

fears, my worst nightmares, or my hopes and

dreams, everything, writing the song means

I have to talk about it. So it really helps me. I

know so many people feel the same way and

have had similar stories, making me feel like

I’m not alone in this. We all share these moments

in our lives, making it a lot easier to deal

with.”

Something that I have no doubt is being

adopted by many, both fans and newcomers

is Tove Lo’s positive attitude that encourages

faith that things get better. And when it comes

to Tove Lo’s unapologetic attitude in speaking

her mind and advocating for better personal

confidence, threaded through her new music

and publicly facing life, it’s the essence that is

infectious and will in no doubt continue into

future works.

Words: Alice Gee

40

KODLAINE

When Kodaline stepped on stage in front of a sold-out crowd at Dublin’s

Olympia Theatre in March, the Irish quartet felt a deep sense of

renewal of their friendship, brotherhood, and musical community. After

two years of pandemic-related isolation from each other, they also felt

a tremendous sense of release and relief that the dedicated audience

they had meticulously built since 2011 was still alive and ready for more.

That sense of release is one that runs throughout the band’s new

stripped-down album Our Roots Run Deep. Compiled of 17 live tracks,

the album is Kodaline’s debut on their new label Fantasy Records. It

features a combination of their most well-loved songs and three brand

new covers. HATC got to sit down with lead singer Steve Garrigan and

delve into the creation of this new work and what they’ve planned for

the future.

Our Roots Run Deep is a bit of a departure from Kodaline’s back cata-

logue. What led you down this road of trying something different and

testing the water with a stripped-back sound?

Yeah, this new album is live and acoustic, which is a significant departure

from playing as a full band. Still, usually, when we start writing

songs, they are very stripped down. I typically write on a piano in a studio.

The guys will sing some harmonies, so they usually start with just

one or two instruments. Then we start adding the bigger production

elements because that’s what we need for touring.

So we always had this idea in the back of our heads to do a tour where

we do it all acoustic and stripped down. I suppose because of COVID

we were itching to do something because we were home and separated

for so long. So when we decided to start a new project, it was, at first,

just going to be an acoustic tour. The idea was to record it, and capture

the night as best we could, and then release it as an album came about

later.

41

Once we had done a few earlier shows on the tour,

we were blown away by the atmosphere and the

crowd’s response, who sang along to every song.

We wanted to capture that and have it reflected

in the recordings. That’s why we made sure you

could hear the crowd singing too. I hope that

when people listen to it, they will feel like they’re at

the gig too.

I’m a big fan of live albums, either live recorded or

live streamed. There is a whole level of intimacy

that you still get from listening to it. Wherever you

are in the world, you still feel like you are there. I

think that’s one of the best things you can do for

fans: give them that intimacy if they weren’t there

and also share the love with the ones who were by

giving them their own space on the album. I hope

they are excited to have their part of it, have their

space in that memory and the intimacy with us. So

far, the reception has been good, it’s something

we are really proud of, and I’m excited to hear what

people think of it.

The album features a collection of songs from

across your previous three albums. What was the

selection process like for the tracklist, and why

those songs in particular?

Simply, they are just our favourites. They are some

of our favourite songs that we’ve written in the

past. The three covers are songs we have brought

out now and again in the last couple of years, and

we have really enjoyed playing them.

We first covered ‘Billie Jean’ years ago for BBC

Radio 2. We were told we had to do a cover of a

song, so I sat at the piano for like 5 minutes before

we went on air. We tried to figure something out,

singing along to different songs, and for whatever

reason, I started singing ‘Billie Jean’. It’s an amazing

song, incredibly written, and we got to do our

version of it. We did it several times over the years

at different gigs, and it just stuck in our setlists.

‘Dirty Old Town’ is kind of an unofficial Irish song.

You could walk into any pub, watch any busker

singing on the street and guarantee it will eventually

start being sung. It’s so ingrained into the culture,

and I love that. The last cover is Sam Cooke’s

‘Bring It On Home To Me,’ which, similarly to ‘Billie

Jean,’ came about due to a radio thing. I was told

to play a cover of one of my favourite songs. So I

checked my iTunes - oh, that’s how you know I’m

getting old - it’s called Music now, and that song

was one of my most played. So we did a quick

version of it on air. Again, it’s just stuck with us, and

over the years, we have brought it out at different

shows; we’ve even done it acapella with the crowd

before.

You’ve had such massive success over the last

nine years since the release of your first album, In

A Perfect World, several successful albums, huge

worldwide tours, and one of the most notable

syncs on TV. Did you ever envisage it all when you

started? Did you think you’d get to the point where

your music would be heard everywhere?

No, I didn’t. I mean, I just love music. I love writing

songs. It was only ever my dream to be able

to write songs that people can connect with. I

suppose that’s what any musician or songwriter

dreams of in a way, and as long as you’re doing

that, you hope for the best and see what happens.

I never thought we’d be synced on a show as huge

as Gogglebox - there must be a producer who

loves us - and to be connected since the beginning,

nearly ten years, that’s huge.

I have to pinch myself because our music pops

up in the most random places, on TV shows, and

in adverts, which has been done for the past few

years. Coming up, I never really know what to

expect or what’s around the corner. We just feel

fortunate that our songs have been picked up like

that, it’s amazing.

In the past, you’ve been extremely vocal about

your experiences with your mental health issues,

depression, and anxiety. Is being as open as you

are about your struggles a benefit? Obviously, it is

never easy, but have you found it brought you al-

most peace of mind?

It has done, yeah. My experience growing up is so

different from what kids go through now. Anxiety

and depression, and mental illness, in general,

were never really spoken about, it was a completely

shunned topic. So when I had my first panic

attack at 19, I was ashamed of it. I never talked

about it because I was afraid that my friends

would see and treat me differently.

It took a while to learn that the best thing to do was

to speak openly about it to your friends, family, a

therapist or whoever you need to help yourself.

Once I started talking about my issues, I found

that many people around me also struggled with

similar issues. I have friends with anxiety, OCD,

and panic disorders, its incredibly common. But it

is really refreshing to see that people have started

to become more outspoken. I think that has, in

turn, made people more compassionate as well,

which is so important and so great to see change.

I go to therapy all the time. Actually, I haven’t been

in a while, but I know I will be back at some stage.

You know, I view it as if I’ve gone to the gym just for

my mind. I have certain things that I look out for as

a signal that I need to check in again, maybe. If I

notice I’m starting to feel a lot more on edge or feel

smaller waves of anxiety, I know what to do to help

myself.

But the process is different for everybody, I know

I’m still on that journey myself, only now I can talk

more comfortably about any kind of anxiety or depression

that I feel, which is good because even a

couple of years ago, I wasn’t able to do that.

You released your first book, High Hopes, back

in October of last year, where you talked about

these struggles and vulnerabilities, how did that

project start, and why did you decide to do it? Was

it a daunting experience going through a lot of the

past?

I started the book when I went back to therapy last

year. It was just for me to be very open to myself. I

suppose it was therapeutic, but it was also incredibly

difficult at the same time. But I am better for it in

the end, so yeah, it’s a nice milestone, in a way. It’s

not something I ever thought I would do, but I was

sitting at home. I thought, ‘well, I have nothing to

lose,’ At the very least, people might resonate with

it, and it may encourage others to speak up and go

and seek help.

My go-to is the gym and my diet. If I notice myself

starting to not feel great, I’ll look at what I’m consuming

and try to get it as clean as I can. I’m not

obsessive or anything, but I’ll try to avoid alcohol

and pizzas - you know, stuff like that. I’ll try and

swap them out for healthier stuff and then incorporate

the gym and meditation. I find it really helpful

to reset myself when I’m feeling particularly

anxious. Still, I’ll admit when I first started meditation,

I couldn’t keep it up because I just wanted it

to work instantly, but doing things in small doses

consistently is the best way to get started. Wim

Hof breathing, too, I got into that recently enough.

I think it is known to be very useful for anxiety. In

particular, it helps me in a similar way to meditation.

I know in Ireland, particularly among lads, there is

still this attitude to just soak things up and it will

be grand. Still, you end up sitting on your issues

and never speaking about them. I have friends

I have known for years who I never knew were

struggling, but they read the book and told me it

encouraged them to get help and thanked me for

it. So although it was difficult for me to do, I’m glad I

did it. It helped me for the better, and my main drive

for it is that it starts to help other people too.

We know talking about these things can’t be easy.

Some of our readers may not be at that stage yet,

so we like to ask all our guests if they have found

any helpful tips or coping mechanisms that help

them in the darker times that they may be able to

try out safely at home first.

But honestly, talking to friends and therapy really

is the most important and helpful thing for me - oh,

and music, I do have a love/hate relationship with

it, but at the end of the day, I always find myself sitting

at a piano, zoning out and forgetting about it

all.

The album Our Roots Run Deep is available to

own, download and stream from October 14th at

kodaline.com, including some exclusive limited

edition coloured vinyl. High Hopes is also available

to purchase now, both physically and digitally.

Words: Jade Poulters

44

THE OTHER

BRONTE SISTER

45

The Other Bronte Sister hits up Wembley Arena

to visit Harry’s House. The dress code was BYOB

(bring your boa), which I obliged alongside a good

pal of the magazine, the gorgeous Eloise.

Harry’s House is the third studio album by English

singer-songwriter Harry Styles, released in May

2022 with a monumental stadium tour that followed.

2022 upholds to be Harry’s year. Harry’s

House is the fastest-selling record of 2022, with ‘As

It Was’ blasted across all radio stations and streaming

platforms, landing Styles number one in the UK

charts for seven weeks. When the announcement

hit for Love On Tour 2022, I was determined to be

part of that crowd. When I purchased my ticket,

the triumph was electric. I let out a yelp of delight.

I knew I was due to witness a bucket list show, seeing

my idol at the pinnacle of their profession.

The day arrived, and on the route to Wembley, a

pathway of rainbow-colored feathers welcomed

me; I knew I was on track to a glorious gala. The

party starts as you loom closer to the stadium,

and you are blasted back to the 70s with psychedelic

prints, gorgeous bold colors, 70’s specs, and

plenty of beautiful boilersuits. It was a scene of gorgeousness;

each Styler accessorised with smiles.

It seems Harry Styles appeals to the masses, with

families of every generation there for a boogie. The

alfresco bar serves beautiful cocktails called ‘Watermelon

Sugar,’ and we indulge in one or two...ok,

maybe five.

Mitski is the opening act, and oh boy, she did not

disappoint. One of the most extraordinary song-

writers of our time, I have been a Mitski fan for years.

I am overjoyed a broader audience is now enjoying

her music. And to top it off, she plays many of her

older tracks, of which I am delighted. Mitski resembles

ultimate power and strength. She is barefoot,

moving fairy-like across the stage in the pouring

rain in a flowing green dress. She is enchanting visually

and lyrically, with each motion and movement

being meticulous. Mitski is a powerful force in voice,

mind, body, and spirit. She is spellbinding.

The show is inclusive and caring. It is beautiful to

be in a safe environment connecting with others

through a mutual love of kindness and respect. It’s

pure joy. The audience mindfully enjoys the space

and its surroundings and i’m reassured that fans

are safe with areas at the sides and rear to move

freely. During the show, Harry reads out signs created

by the fans. It is often hyped on TikTok during

the tour to get footage of Harry reacting to these

signs. Some are entirely obscure but always get

a laugh and deliver jaw-dropper value. The most

wholesome moment of the evening is when Harry

spotted the sign made by an Italian fan named Mattia.

“From Ono To Wembley: Help Me Come Out.”

Harry reads this for all to listen, and the crowd roars.

It’s a roar of pure acceptance and delight. Harry

holds a pride flag and teases the crowd, saying that

once the flag goes over his head, Mattia is officially

out. Once the flag is raised, the crowd is elated and

emotional and starts to embrace one another.

I adored the show though the stand-out had to be

‘Matilda’. I suppose it was considered significant to

me at that moment. The lyrics, ‘You don’t have to

be sorry for leaving and growing up,’ undoubtedly

spiked a tear to my eye. That week I was due to

move out of my family home to my own house. I felt

frightened of the thought of growing up, so this lyric

had a powerful, somber feeling while being reflective

and optimistic too.

Spotify of some of our favourite Harry hits. It is perfect

for a hairbrush microphone moment as I recreate

Wembley in your bedroom, to enjoy peacefully

gazing out the window on the bus, or even making

your morning tea and toast. Harry has just released

tour dates for next year to do it all over again.

Eloise and I started the afternoon feeling glam and

ended the evening with slick back buns full of rain,

beer, and sweat, walking around in a plastic poncho

to keep dry. Our cheap feather boas had dissolved

in the rain into a piece of scraggy string around

our necks. We met some precious strangers and

danced the night away. We created memories to

endure a lifetime, unlike our boas!

The show’s climax was during the encore when

you were emotionally punched in the gut with ‘Sign

Of The Times’. The ballad that grows and grows. It

was a dramatic moment with fireworks in the sky

and rain pelting our skin—the perfect end to an oldschool

rom-com.

What was your favourite musical performance of

Summer 2022? Get in touch @hatcmagazine

SETLIST: Music For A Sushi Restaurant, Golden,

Adore You, Daylight, Cinema, Keep Driving, Matilda,

Boyfriends, Lights Up, Satellite, Canyon Moon,

Treat People With Kindness, What Makes You

Beautiful, Late Night Talking, Love Of My Love, Sign

Of The Times, Watermelon Sugar, As It Was, Kiwi.

Words: Bronte Evans

The aftermath is chaos but beautiful chaos nonetheless.

It was impossible to leap on the tube, so

we endeavour to walk and find a bus stop. On our

quest, we hear Harry Styles playing from a pub

from afar, nearly like a beautiful mirage. We locate

the packed pub to the brim of fans reenergised

from the show. We manage to tuck ourselves in to

join a bunch of strangers sharing feelings, hugs,

singing and dancing, and plenty of booze.

For those who would like to revel in the experience

once more, I have curated a playlist on the HATC

CAVETOWN

Within 4 years, Cavetown has become

known for his bedroom pop and indie rock

music, indulging fans worldwide. The Oxford-born

singer-songwriter has found inspiration

in honest writing, amassing over 2

million YouTube subscribers and 398 Million

video views. Growing up with two musical

parents, Cavetown has found inspiration

from a young age. Fans of Cavetown will find

no surprise in the indie sensation’s rise to

stardom, with his roots channeling back to

his YouTube debut In 2012 and Bandcamp.

As Bandcamp became a staple in music exposure

supporting upcoming artists, many

found a home in the platform, taking control

of their own music. Cavetown was amongst

those utilising what Bandcamp had to offer.

“It was a great way to get my music out

and take control of my career right from the

start.” I presume it was essential to have creative

control of his music. “I think it’s super

important for artists to feel that they are the

center of their universe and deserve to grow

it the way they want.”

It’s that creativity and self-confidence that

found its way into Cavetowns new album.

Following on from his fifth album Mans Best

Friend, Cavetown is back, excited to share

his new album with fans and the world. “It’s

always exciting to show people new stuff I’ve

been working on! My most recent projects

are always what I’m most proud of, so I’m eager

to see whether they resonate with people

similarly.” I doubt his ever-dedicated fan

base wont be able to connect with the new

album. The natural evolution of Cavetown’s

stylings since his debut self-titled album

has seen no boundaries being described

by critics as ‘compelling’ and ‘nostalgic’ with

fans eager to hear what’s next, something I

imagine Cavetown’s ready to see. “I’ve been

working on the album for so long and touring

a bunch lately that I’m ready for a bit of a

break - I’ll just enjoy sitting back and watching

the new songs live their lives out in the

world.”

It seems a therapeutic process for Cavetown,

being able to write so openly and then

see the enjoyment it brings fans as I ask how

important it’s been to be able to express himself

and the meanings behind it. “Any music

I write has always had the same function for

me,” a form of therapy I ask as he agrees “it

helps me bring thoughts and feelings out of

my head into something tangible that I can

make sense of.” There’s always a sense of

relief in hearing how writing something so

personal and vulnerable for artists like Cavetown

can bring such calm and understanding

both when being written and afterward

from the reaction of fans when they receive

it.

The reception Cavetown has seen over the

past 6 years has grown into quite the fan

base, with fans all over the world pleading

for their cities to be part of Cavetowns tour

dates. In the past year, Cavetown has sold

49

tens of thousands of tickets worldwide, with

an astonishing 60,000 selling out across

the pond in America, although the figures as

something he thinks about less.

“I guess I never really thought of it like that. A

large number was never a goal or a dream or

anything; I’ve always been more focused on

improving my sound more and more. But it is

cool that my little sounds have reached so

many ears” it’s something Cavetown seems

so relaxed about, with numbers not being

of enormous importance “seeing big numbers

like ticket sales and stuff doesn’t really

evoke anything for me. I think I find it hard to

internalise what it means.” When does it tend

to hit you on the numerical side physically?

“Once I’m on tour, and each number becomes

a real person, it will properly sink in.”

Seeing fans not just sing back his lyrics but

connect with them must warm to Cavetown,

a physical bond to those who adore him

and his music. But it’s no mean feat being so

open and sharing such vulnerability. I wonder

how he hopes it’s helped others around

him, whether they are fans or new to his

music. “I hope that people feel understood

by the words I put together. I find that lots

of thoughts and processing of things are all

jumbled for me until they come together in a

song and make sense. If that experience can

translate to someone else, that’s cool and

special.” I ask if he could see any improvement

in people being more open and destig-

matisation of mental health? He tells me, “I

think with anything that has a history of stigmatisation,

you can’t really ask for an instant

fix. It is a long process of people growing and

learning, which I think we’re already doing in

terms of mental health. It’s very cool to see”

Words: Alice Gee

JACOB

BANKS

Jacob Banks is a multi-instrumentalist singer-songwriter

from Birmingham and the owner of

the independent music label ‘Nobody Records.’

Banks combines and blurs the lines of traditional

genres creating urban sounds that seamlessly integrate

elements to curate a smooth blend of hiphop,

R&B, soul, and reggae. Banks’ hit track “Unknown

(To You)” has been streamed over 45 million

times on Spotify alone. Having headlined sold-out

shows on multiple continents he kindly joins us in

the chaos of moving to his new home, a farm where

he’d just been feeding his cows before joining us.

ing those emotions. So it would have been disingenuous

of me to have done that earlier. But now I

feel like everything that’s happened in my life allows

me to settle into my deep south vocals. There’s

more behind the guitar, more behind the piano, and

more in the music. More stories. It’s been fun to use

my brain that way. And you know, I still have to put

my little spin on it, telling my stories in new ways. So

yeah, it’s been a lot of fun.”

Does having your label give you a lot more creative

rein?

How was it writing the new album, and how has this

album shaped you musically compared to the work

you’ve done before?

“I think this one is simpler. I made it with less noise.

Mentally there was less noise in my head and

around me. I was in a grateful space. It was nice to

settle into a space where I’m allowed to speak from

a place I wasn’t always sure I could speak from. I

was always afraid of being overly soulful or overly

old school because I didn’t feel like I lived long

enough to talk about certain things. But now I feel

I can speak about them.”

There’s far more focus and freedom to spread your

wings in doing what is authentic to yourself.

“Well, my last record label allowed me to have creative

rein, but I had to fight for it. I always had to make

a good argument that had to make sense. I think

that’s probably why when I wanted to start my label.

It always felt like my label allowed me to hire who I

wanted. Before, I always had to validate my reasons.

I don’t make anybody else validate what they

bring to the table. It never maked sense to me why I

had to explain my job.”

Was there a change in the process for you?

“There was a slight change. I’m unsure if I can attribute

that to a major label or a pandemic because

it kind of all happened at the same time. So I don’t

know what’s responsible for the change”

“Definitely, but the thing was that it assumed that

I was always the authentic version of the person

presented at work. It didn’t make sense for me then

to make deep songs, black self-blues. I felt I wasn’t

going through anything like where I wasn’t navigat-

You’ve done some unique collaborations on the al-

bum. How was it sharing that experience with other

people that you’ve respected and looked up to and

enjoyed their music?

54

“It was all natural. I had always wanted to do them.

I think I rarely make sense for other people, and I

can’t just be injected into any project and have it

make sense on so many levels. Working with Sam

and working with Adekunle Gold, Tobe Nwigwe,

and Anna Leone, who, as my best friend, opened

for me on tour six years ago, was magical and

we’ve been best friends since then. So getting to

immortalise many things was important to me in the

collaboration itself. Whatever happens, we have

proof that we were here.

What has been your favourite music venue from a

performance point of view?

“You will think it sounds bad, but I don’t typically enjoy

acoustic sets. As much as I may enjoy playing, I

feel like I can only offer up a specific version of myself.

I like to present a show where I can offer and do

it all. I don’t want to do the same stuff and go home.

I always want to be able to present my being. I’m always

wary that someone will hear my music for the

first time and feel misled. Because when they go

to my Spotify, they hear all sorts of sounds. I want

people to have a full picture of who I am. If I had to

choose a venue I enjoyed the most, I would say

The Royal Albert Hall I played. I did the BBC Proms

many, many moons ago. And that was fun.”

You did the closing ceremony for the Common-

wealth Games, which is enormous! How was that?

“I had no idea it was going to be like it was. It was

interesting to see the show being put together. I’ve

watched so many closing ceremonies on TV, but

seeing how they put it together was probably the

most magical thing about the show. Seeing how

much effort the teams put in together with the directors

for the ceremony was amazing. I enjoyed

looking behind the curtain. It was also fun to represent

a hometown. It was good to pay homage to my

community and my peers.”

What have been your experiences with mental

health over the years?

“Mental health is everything. I don’t think we care

about it as much as we should. I think we have to

have love and empathy toward our generation. Like

recently when Anthony Joshua, unfortunately, lost

this fight, you could see that he was having a tough

time articulating himself and still had a lot of emotions.

I don’t think there’s a more hyper-masculine

job, and I can’t imagine the selection process. To

see some people’s harsh response was horrific.

I’ve struggled in my personal life but have been

fairly lucky of late. I went through a time where I was

depressed for a good amount of time. I remember

I had to leave London. My sense of duty tends to

override my approach to the things that I feel. I’m

the eldest of four kids, so I’m alot of things to many

to many people. Luckily for me, I have a sense of

purpose when I’m helping and fixing things. So I

think I couldn’t genuinely afford to be down for too

long. But I wish more for men. I wish they could be

allowed to be down for as long as they need to be

to heal. I don’t know if I’m grateful for it or resentful of

it of my own experience. But I find regularly it’s just

that nuance of how I feel versus what’s right.”

58

It seems that you found a good insight into your well

being. How have you developed this?

“I feel incredibly fortunate. I have many more things

going my way than the average person. So I’m able

to have perspective. So much of it is luck and being

dealt the right cards. There are so many battles that

happened before the battle itself. We all have different

tools and often much is predetermined. I think

when people cross the finish line, they often judge

other people for not getting there as quickly as they

have when they have a different set of tools. “

Words: Bronte Evans

59

READING

FESTIVAL

PANIC SHACK

LYNKS

PRIESTGATE

GROVE

66

Sat against a tree in Victoria Park, George webster lets me

in on the memories of the moments that contributed in one

shape or another to the path he walks today.

“I was always obsessed with action figures when I was a kid.

I had every WWE action figure you could think of, every Star

Wars and Lord of the Rings figure. Playing with them as a kid,

it got to the point where there were multiple storylines, across

multiple things going on in all of these different worlds.”

I ask whether those worlds as a young boy gave him the direction

he was looking for as a child. “I’d say my imagination was integral

to me growing up, it made me want to be a director. That

was suggested to me when I was about eight as I set up my

little scenes. To me, it sounded great. From that age onwards, I

decided that’s what I was going to do”. He jokingly tells me how

math’s got left at the wayside as I wonder whether acting was

part of the package in discovering his passion for film. “I started

to follow other routes for quite a long time until I discovered

I was denying that I was an actor. When I look back at playing

with the action figures, I had 50 different accents going up in

my head, so I guess it was kind of obvious. I was internalizing

what I actually felt.”

I resonate, having spent what feels like the entirety of my early

teenage years on The Sims with various storylines. Two years

after making his debut in television, many will recall George

stepping into the role of William of Orange for the critically

acclaimed Versailles. As a massive lover of period drama, I

remember being fascinated by the series, wishing that I could

step into costume. George is quick to mark the series as one

of his first legitimate gigs, as I curiously ask about the set locations

and what it was like stepping into such a large and highly

anticipated production.

GEORGE WEBSTER

“It was a strange one because I was playing William

of Orange, who was only in series One at the time,

so I thought that was it. And at that time, I could

accept that it was the right scale for the role size I

should be doing. I mean I got to go to France and

film. When you get there, you get to see the scale of

it. It was my first time in the studio, so seeing behind

the scenes of films and TV shows was something

special. It was a bit overwhelming in that sense.

When I returned for season Two, it was all on location.

I didn’t film anything in the studio. They were in

these old monasteries. I believe they even allowed

the series to film at Versailles in the Hall of Mirrors,

which was one of the only productions allowed to

then. Being intertwined within the history of a place

was such an honor.” And as for the costumes, I

fawned over, “they were incredible. Still, in all honesty,

all the women who had to wear corsets, were

barely breathing on set” ok, so maybe I’d try them

on briefly I declare to George.

Having spoken about what must have been breathtaking

locations on the set of Versailles I’m interested

in what George prefers: either being on stage or

in the studio.

“That’s a good question. I think both have their

place. I wouldn’t say I like the cold. I am the worst

when it comes it. So when you’re on location, you’ll

probably be cold. But saying that, you’re also completely

immersed when on location. When I’m on

location, especially in period productions, I always

try and find a snapshot with my eyes of somewhere

where there’s nothing modern, everything

completely natural. When I do that, and I’m in peri-

od gear, my brain is tricked into thinking I’m in that

time, like a time machine, so being on location can

be more magical.”

Since Versailles, George has made quite the name

for himself, known for the diversity of his roles. “I

think if I can keep every day as fresh as possible,

I’m happy,” He explained, “As much as I love routine,

and I need routine, I also crave the shattering of it.

So juggling many things simultaneously when you

pick up another role within a year can be quite chaotic.

But honestly, I get off on the chaos of it all.”

With Wedding Season premiering within days of

our interview, and the excitement surrounding his

role in Masters of the Air, I can imagine he’s enjoyed

the chaos of playing multiple roles in a short time.

As for Masters of the Air, those who haven’t heard

the impatient and excited rumblings of a whole

industry getting ready for what can only be described

as a stunning adaptation filled to the brim

with adrenaline and leading actors. It’s going to be

quite something, I exclaim to George, who plays Lt.

Glenn W. Dye.

“It’s just amazing; no job I’ve ever been on has had

the gravitas. We are trying to tell these well-researched

stories, so every actor on it was so engrossed

in trying to do it justice. When I say how

brilliant the cast is, I speak for everyone on set. I find

myself just watching them completely engrossed.

I never went to drama school or anything like that,

so I get better at what I do when I see good people

doing it. Watching Austin Butler, Callum Turner,

and Barry Keoghan, who are just at the top of

“It’s not very good.” He jumps into saying, as I quickly

dispute that that’s being rather harsh.

“It’s the naivety of youth, especially at that time.

There was no other route. I didn’t want to go to

film school, not that I could afford film school. So I

started a tiny little Kickstarter campaign. We shot

this film over two weeks for about four grand. I had

an amazing team of local filmmakers from Brighton

that absolutely facilitated it. I met Jamie Patterson,

who went on to do amazing things, and who I’ve

worked with again and again. He produced my feature

back in the day. We did it out of pure love, so it

didn’t matter how shit it might turn out to be. Anything

done with love and passion has merit, and I

think that’s something I need to remember.”

I agree firmly, making a big deal of the fact he funded

the project from a Kickstarter campaign, which

is not easy and gives me nightmares, but also the

dedication shown in full in his early twenties for

something he loves. On being kinder to himself, I

wanted to ask how he puts that into practice, putting

his well-being and mental health first.

“It’s a funny time for me to do this interview because

I’m in the depths of a lot of stuff going on

in my personal life. So I am in the grips of trying to

stay afloat. So for things that help me, I think there

are two things. One of them is looking to our elders,

like a parent or a mentor, or even literally a fictional

person, somebody to aspire to be. I am constantly

looking at Alan Watts, insights and philosophies,

Marcus Aurelius, stoic philosophy and things that

are higher than me, and people with more experitheir

game, and being able to play alongside them

is a mad job. This time last year, I managed to get

in touch with the pilot who I play co-pilot to, who’s

still alive; he must be 98 or something. I found the

town and desperately tried to find a way to speak

with him. He was incredibly generous with his time

and information. It was a complete joy. It was one of

those moments that slapped me in the face. A total

dream.”

I’d imagine it’s quite the responsibility taking on a

true story, yet extremely rewarding being able to do

it justice. I ask if the cast felt that awareness?

“Awareness is the absolute right word for it. Because

when I was playing William of Orange, he

died like 300 years ago. But when you’re doing

research and the characters are alive or have recently

passed, I think the trick is to not see them as

historical characters. That absolutely translated

into Masters of the Air. I can’t think of another event

that was so horrific, in just the sense of what these

guys were asked to do on like a daily basis. It was

madness; they had the courage and strength to go

on these missions that were essentially suicide.

So there was an awareness that we needed to

do these guys justice. Every single person on the

crew knew that. And I think that’s at the heart of the

show.”

Speaking of the gravitas a role can have on you, it’s

impossible for me not to bring up his first feature

film, which he directed at the tender age of 22, and

the experience of being in complete creative control.

ence than me and listening to what they say. And

the other one that I think has helped me weather

the storm is having at least some kind of metaphysical

concept of reality itself. I don’t subscribe

to any religions, but I’m curious about this whole

thing. I think I’ve been quite conscious of that from

a young age feeling like nobody really knows what

they’re doing. I always think about when people tell

me, ‘when you die, the light just goes off,’ and that’s

it, which for me, is not helpful. We do it constantly

in the west, this idea that you’re just a meat sack

running around this mad world trying to figure it out

and be happy. The fact we are told you should go to

work and have a holiday for two weeks of the year

before you go and die is incredibly unhelpful. So

having a curiosity to go and explore those things,

I think, is exactly what I’m doing right now. Looking

into these concepts makes me feel this big, but simultaneously

helps me feel part of the universe.”

and exploring them. And as for his recent and upcoming

roles, they’re not to be missed, with him set

to impress with such poignant stories.

Words: Alice Gee

It’s interesting to me as someone who often looks

for more established roots for stability. I wonder if I

may find more grounding in his approach.

“For me, it’s about understanding that there are so

many unexplored things, even in the physical world.

That curiosity is needed, I think that needs to be

drawn out of us more.”

I take from the last moments of the interview the

importance of curiosity and exploration, and how If

we stop curbing it, we may be more at peace with

the moments we find ourselves in. George firmly

believes it applies to mental health, and perhaps

he’s onto something when it comes to letting go

71

SALT

ASHES

Resilience and genuine passion are some of the

most crucial ingredients for becoming a successful

artist. Brighton-based singer/songwriter Salt Ashes

exhibits nothing less. Showcasing long-term

dedication to her craft, Salt Ashes keeps up with an

impressive momentum of high-quality music that is

real, vulnerable, fun, and poetic.

“I’m writing like mad at the moment,” Salt Ashes

says as she splits her time between writing sessions

and jumping into the ocean that calms her.

Enjoying the Brighton sunshine after moving from

London six months ago, Salt Ashes emits a level-headed

attitude and self-aware tendencies amid

a brutal industry of chasing dreams.

For Head Above The Clouds, Salt Ashes offers her

two cents about how to stay positive, the meaning

of love, as well as her current sound, new music,

and plans. In the classic sticky British weather, just

in time for summer romances, Salt Ashes releases

a new single, ‘Didn’t See It Coming,’ produced by

Dimitri Tikovoi.

‘Didn’t See It Coming’ is a certified love-charged

record that follows up her previous single, ‘Body

Says,’ which was released earlier this year. Salt

Ashes seem to maneuver with her heart on her

sleeve, letting people in onto her inner workings,

daydreams, and contemplations.

Veiga Sanchez, known as Salt Ashes, traces back

to how it started. As a self-taught piano player,

Sanchez dabbled in songwriting honing her voice,

but it wasn’t until she was 14-years-old, she wanted

to pursue a singing career properly. She details her

journey: “I formed many shit bands and got loads

of experience on what not to do etc. Then I went to

BIMM (Brighton Institute of Modern Music) and did

two years of a vocal course there. That was my way

of appeasing the parents in believing that I was still

“studying” when the reality was I was bunking off to

write songs in my bedroom and going to Glastonbury.”

An artist sees inspiration in any shape or form. At a

time when Veiga Sanchez was letting poetry guide

her, she bumped into what accidentally became

her stage name: “I saw the name (or words) “salt

ashes” written on the side of a small, wooden boat

in Brighton and loved it as something poetic and

descriptive. At the time, I was writing a lot about

the different natural elements and love loss, all in a

more poetic way than how I’m writing now, so when

I was thinking of a project name Salt Ashes felt like

it suited me as an artist at that time and the style in

which I was writing. At that moment, it was more of a

project name that I thought would change at a later

date, but it’s stuck as my artist name now.”

amount of space yet show me the right amount of

interest to pull my head out of the smoke I was in

before he came along. But we move”.

Remembering her self-titled debut album from

2016, the songstress appreciates her gradual

growth and her willingness to experiment with

the new single ‘Didn’t See It Coming’ in mind. She

elaborates: “I think this song is more similar to my

first album than the second album, which I’m into

too. More dance and disco influenced. In general,

my work is more honest lyrically now, and I’m less

afraid to be experimental with sounds and arrangements.

But that’s only natural with time and experience

in making songs”.

The core of ‘Didn’t See It Coming’ lies within the

sonic embodiment of a Salt Ashes perceived love

story. Sanchez beautifully details what love means

to her: “Love, to me, is being able to be all the versions

of yourself…the messy, the strong, the vulnerable,

the creative, the insecure, confident and

knowing each other’s language so well that you

know exactly how to support and care for them at

that moment.

When asked about the next bigger project, she

admits having over an album’s worth of material. “I

guess at some point there could be a third album,

but nothing is set in stone yet. I’m always happy living

in each release and allowing myself to get lost in

it for a while before planning too far”.

Salt Ashes also returns to her electronic-disco-influenced

tunes with ‘Didn’t See It Coming’ as a

prime example of her following sound description:

“Like a club night in 1979 with Daft Punk laid on the

floor and the dance scene from Pulp fiction happening.”

Wait until you watch the ‘Didn’t See It Coming’

music video, and you will get it.

When it comes to the art of songwriting, Salt Ashes

still lets poetry take the lead. “I’m also really enjoying

starting a song by writing poetry and then building

the song around it right now. I’m usually a “start

with a melody” kinda gal, but it’s nice to change

things up to keep it interesting.”

For me, love is when the other person truly knows

me and respects and recognises my need for independence

and freedom”.

The accompanying ‘Didn’t See It Coming’

Sanchez’s current relationship inspires visuals; she

blushes as she explains: “I get weird talking about

gushy love, to be honest!! It was fun to smoke!! But

yeah, my guy just knew how to give me the right

Salt Ashes mentions a random bump-in situation

that is helping her on her path in the current day.

“Dimitri, who co-wrote and produced this track with

me I recently met him at the Liam Gallagher show

at the O2 Arena when my friend’s band “Black Honey”

were supporting. We got chatting and booked a

session then and there! The fact that that moment

led to us creating this song is pretty awesome”.

74

Being in the spotlight and constantly working to

maintain a long-lasting career, so one stays relevant

eventually takes a toll on a person. Salt Ashes

expresses the depths of going through many psychological

hurdles as a musician: “This industry is

brutal and difficult, as we all know, and it’s hard to

navigate your emotions and constantly remain level-headed,

motivated, and positive that “something

is going to happen soon!” consistently. So yeah,

I’ve had bouts of depression in the past. Some moments

lasted much longer than others, but I now

understand my triggers and cues and how to deal

with them. I’ve found tools that usually work for me

when I’m suffering. But you know, I’ve found that

prevention is better than reaction. I must maintain

and be consistent with my mental health practice,

so I don’t end up in a funk. It’s much easier that way

than waiting to hit a low and trying to claw your way

out of the never-ending, bottomless pit. I’ve also

learned that I’m the only person who can dig me

out of that pit, so sometimes I have to scratch, claw,

scream and kick myself out like a lioness protecting

its cub”.

always positive, I have to say, but I always try to shift

my perspective when I am thinking negatively. I like

and believe this quote “You can’t control your first

thought, but you can control your second.” We can

change our thoughts, emotions, and reactions. We

are in control of them, though I’ve always felt like

I’m not. So if I instantly react badly to something or

have a negative thought, I usually take a moment

and then try to think about it differently… look at it

from a new perspective. I’ve found that this isn’t

something that suddenly works like magic - the

answer to feeling shit! but with practice, it becomes

easier and easier to do, and eventually, it’ll be a habit…

That’s what I’m hoping anyway!!”

With a show at Notting Hill’s Arts Club, Salt Ashes

begin to make rounds with new material such as

the infectious ‘Didn’t See It Coming,’ hoping she will

tour more, as on the stage is where she belongs.

Six months ago, she moved to Brighton, contributing

to her mental well-being. “I love being by the sea

so much. It calms me. I can run down to the seafront

and jump in the sea, which sorts me out and gets

the creativity flowing. I love my quiet beach spot

near Rottingdean in Brighton and also a wander

down the Lanes when I’m feeling more social”.

Besides eating good food and watching The Office,

the singer opens up about what helps her

keep her head above the clouds: “Pppfffttt, I’m not

75

EELLS

They say mental health and creativity function

effectively together, and EELLS, an established

London-based designer, maker, and

restorer, is a definition of that. A year since the

release of Assemble From Memory, an inspirational

collection made from memory-triggering

pieces, reassembled to create a new narrative.

To celebrate this milestone of a collection,

EELLS welcomes me to her sanctuary, her

Brixton studio, discussing growth, strength, the

cleansing process, and getting through to the

other side.

“It is home for me,” she says. “I feel lucky for this

space. This collection became a cathartic process

for me to handle and work through painful

periods of grief, loss, self-doubt, coming out,

finding love during the pandemic, and pretty

much everything else.”

During the darkest times, EELLS has demonstrated

you can turn deep lows and create absolute

magic. “During this period, you don’t really

know what you are going through, and now

it feels much more removed,” she says. “I like

how I am moving and comfortable with what I

produce. However, before I looked for validation

from people, now I don’t.”

Stemming from alums of the Royal College

of Art, EELLS developed through a series of

projects. It all started with building patchwork

t-shirts using the fabric from pre-existing jersey

items sourced from charity shop rag bags

or donations, and her masterpieces developed

from there.

Fashion

A brand that “intertwines fabrics from past

lives into functional garments for the wearer

to continue sharing their story.” EELLS aims

to glorify the beauty of construction within

every piece.

The progressive designer has worked with

Mark Leckey for Tate Britain, Converse,

Goodhood, and CONGREGATION Design

and started this project during the pandemic.

“I hadn’t been to my studio in a long time. I had

been religiously making masks for various

people and charities. I didn’t know what to do,

but I planned to start a new project.”

She adds: “There wasn’t much money in the

pot, and I could only work with what I had in

the studio. It was a project set to work with

only what I had available, with a hold on purchasing

other fabrics or landfill-destined

items.”

“Assemble For Memory, was one of those

things that came out through my situation.

All I will say, life does throw you some rough

patches. I am lucky to have a studio, material

to work with, and a brain. Gifts of time don’t always

come, so I felt it was now, or I would go

on about a collection for another four years.

Also, I needed some distractions because

I was going through a difficult time, and this

project gave me a little breathing space.

Slowly but surely, pretty much from there, I

started moving. I also had a great mentor Eleanor

who held me accountable, which was

the best thing for me. Having to answer a little

to someone, there was no room for excuses.”

With EELLS, it is evident it is all about details,

from her cuff details and chain strip jeans to

her in-demand proto t-shirts. Every piece

is one of a kind, a true masterpiece. Reconstructing,

repurposing, and rebuilding, are the

skills that make her collection so beautiful. It’s

magical how they combine materials and colours

that you would never consider a match,

but EELLS makes it work—transforming unwanted

pieces to life again and giving them a

chance to live a new journey. Demonstrating

that you can create a striking vision when

working with limitations.

In this collection, fabrics were predominately

from her late Grandad George’s wardrobe, a

significant father figure in her life. “My Grandad

raised my sister and me, he was like a dad

to us, and there is a void with him not being

around. He cared about what he wore, and he

was a proud man. Embracing a bold, impressionable

wardrobe that he always celebrated.”

EELLS decided to keep items of his that resonated

most and build them into something

new. Otherwise, clothes would have gone to

the charity shop or the bin if not saved. Aiming

to repurpose and rebuild these second time

round fabrics into something new and become

a once-only garment.

“During this time, I was going through a complicated

family circumstance where I had to

clear a house that was storing my Grandad’s

belongings. Since his death, I had been holding

on to his belongings because I desired

to do something with them. Instead, I left

everything in suitcases and ignored it, but in

the back of my mind, I knew I had to deal with

it. Initially, I think I was still majorly processing

my grief. However, my studio was jam-packed

with my Grandad’s clothes; it just became so

suffocating.

“He was an exceptionally sharp dresser. All of

his clothes were beautiful. Materials included

tailoring wool to cotton twills, there were other

things I wouldn’t necessarily have kept, but

I did anyway. However, it helped me build a

narrative, and I began working. This collection

allowed me to deal with the grief I hadn’t dealt

with before by working through and rebuilding

stuff he had already had.”

“He was a working-class man. A man who

did good and worked very hard. He knew the

cost of things and cherished them. Clothes

were important to him. He never wore things

like they were out of style, and I respected him

for that way of dressing. He had his unique

style, which was incredible, but a lot for some

people. He didn’t give a shit!” she laughs.

“His mentality to what you own is so refreshing,

He dressed sharp, and it was lovely to see

someone in a suit, shirt, and tie, and he never

felt overdressed - he would always come as

his true self, very authentic.”

EELLS found it was a merge of things she felt

drawn to or liked at the time. “I tried not to put

too much emphasis on it. It was a very natural

process, and one piece led to another. It may

be the first project I like and feel I connect to

my truest self.”

eells.co.uk

LEWIS GRIBBEN

In his Leicester Square hotel room, Lewis

Gribben joins me with the light bustling of London

in the background. Responding he’s well,

having traveled from Glasgow, Scotland, I ask

him about the journey and the madness that

is London, “I’ve been down to London a bunch

of times for in-person auditions, and I always

remember how mad it is here. I remember

being told of professional pickpocketers and

thinking, is that an actual thing?” I chuckle,

telling him they really do exist, having had my

own experiences. Having grown up in a small

town outside Glasgow, I ask the furthest he’s

travelled in the UK in relation to his auditions

and roles, “a job in Buckinghamshire or Cardiff,”

as he takes a moment to clearly remember.

On the topic of film locations, I quickly ask

where he’d love to travel if he has the opportunity,

“Canada for sure,” he exclaims after little

thought. “I feel like you always see films there,

and it looks just beautiful. I love winter, so I feel

a film or TV show in Canada would fit that well.

I could see it as a great place for a thriller film.”

Known for his roles in Trainspotting T2 and

Shetland, Lewis has become somewhat of a

household name over the past 2 years, taking

on role upon role acting, something he continues

to praise as his happy place. Growing up

in Scotland, I’m curious about his upbringing

and its role in his love of acting. “My childhood

was good. I grew up in a small town outside

Glasgow and went to primary school around

the local area.” He tells me he was quite an

imaginative child, always flying around on

brooms, talking to himself, and casting spells.

“I guess I felt isolated at the time, so acting became

a bit like a mental strength. I would have

imaginary conversations with myself”. Seeing

his love for his imagination, he tells me his

parents gifted him tickets for a drama class

at Glasgow’s Citizens Theatre, “At around 14,

I decided I’m gonna chase the dream, so I’ve

been acting ever since.”

It seems to me, as he tells me more about his

childhood and being diagnosed at the age

of five with Autism and Dysgraphia (a type of

81

dyslexia) that acting became something of an

escape, even a deep-rooted need for enjoyment

and respite. “When I went to secondary

school, I was offered extra help. The school I

went to, I didn’t live close to it. There was a bus

that would pick up the kids with disabilities. I

think that alongside the fact that I couldn’t

write made it difficult.” Pausing briefly, he

continues, “I think I’m fairly intelligent when it

comes to speaking, vocalising, and visualisation,

but dysgraphia, made it difficult.” I asked

whether living further from school than his

friends made him feel disconnected? “I think

the downside is you can’t form friendships by

going out with your mates after school. It was

quite isolating. I think that’s why I fell so much

in love with drama because it was my only

class where it was mostly practical. It was escapism

from being the reality of the weird kid

with autism.” His dark humor then appears. “If

it wasn’t for that, I would have wanted to jump

off a cliff or something, but in all seriousness

it allowed me to feel more comfortable. And

from that, I found my tribe of people that also

liked to imagine and create just like me. Acting

has been a constant in my life. And even if

it wasn’t my career path or it didn’t work, I will

always find ways to still do it.”

It’s clear from his rather large smile, beaming

from ear to ear, how much acting means

to him. How did you find your first few roles, I

ask? “Professionally, I started when I was 20,

but I know some kids have grown up in the

business side of it. I was 20 when I got my role

on Trainspotting T2. It was the first thing I did

properly, and I’m a huge fan of the first film. It’s

funny, as I was definitely an extra but credited

in full. Even so, it was a bit nuts because I got a

better role despite not getting the one I wanted.

But I think from going from that as my first

proper job to getting Get Duped! (a film that

premiered on Amazon Prime), I went from an

extra in one scene to an actor in other films.

I then got an agent and went forward from

there.”

Making a clear impact on directors around

him, I wonder if he’s preferred auditioning in

person rather than self-tapes? “I don’t mind

them” (self-tapes). I mean, the self-tape part

of it is bizarre because I like being in the room

of us casting directors. That’s where you can

have fun being able to experiment with.” As

for self-taped auditions, he tells me how he’s

not so keen on having to watch himself back.

“You can get ahead of yourself,” he honestly

exclaims, continuing to tell me more of the

practical side of things in redoing them “It’s

not as easy as you’d think just doing it again.

You either have to get someone on the other

end, or you have to get a friend to come back

to the house, which can be a pain in the ass,

but I understand it’s only because they want

me to do the best. But I love being in the environment

with the people directing it, producing

it, casting it, and working with them.”

Over the past few years, Lewis has championed

roles, even winning awards. “Winning

an audience award is always the nicest because

it’s a genuine case that people like it.” If

the audience can see how much you enjoyed

the role, creating such a convincing portrayal

must have been a clear inspiration for you

in some sense of the role. “It’s probably the

hardest thing I’ve done. Danny has a lot of vulnerability.

Even when he’s not crying, his eyes

are really sad. It’s like he’s constantly sad even

when he’s happy.” I asked what stood out for

him when reading for the role. “There was always

an edge that this guy could get hurt or

be exploited at any moment. I guess it made

me uncomfortable that he was the odd one

out trying to fit in. There are a lot of emotions

in it. It was quite dark.” I asked if it was something

he felt he’d adapted to. “I spoke in the accent

the whole time I was there. I didn’t break

at all, so I lost a version of myself. It was almost

a hybrid version of me. I was in a whirlwind.”

When it comes to roles Lewis would love to

play, he tells me, much to my surprise, something

a little different from what I expected, “If I

could pick a role, I would have said something

like Jeffrey Dahmer. Ironically it came out a

week later. I have been thinking about it. But

something really dark. I want to do something

different to your generic horror films as

I don’t tend to think they are scary. But playing

a murderer or serial killer, that’s horror, that’s

real. It’d be great still having that vulnerability,

just a bit more of a twisted one.”

If we’ve learned anything as avid viewers over

the past couple of years, it’s that Biopics and

dramatisations on actual events are having

their moment. As for 2023, viewers will get the

chance to see Lewis in action alongside acting

royalty in Apple’s Masters of the Air. The

dramatisation has been the topic on many

critics’ minds the past year of production, as

Lewis explains to me the best bits about the

series. “It’s great as all the characters have

been alive at one point. My character got

injured at one point and crashed over Germany.

I’m playing a ball turret gunner. It was

awesome being swiveled around on set in

the machinery. It was the biggest production

I’ve been on. The only thing that was a shame

was I was meant to be in a few episodes as a

different character, but I was on Shetland at

the time. Because COVID was rife at the time,

they couldn’t overlap sets in case it could shut

down two things. So with Masters of the Air in

Buckinghamshire and Shetland in Scotland,

it was a travel problem. It was frustrating, but

I must admit when I got Somewhere Boy, it

made up for it.”

I admit to Lewis that I’ve been waiting avidly

to see the final product, especially with what

is a stellar cast. In terms of Lewis’s next role,

Somewhere Boy, which you can see him starring

in from 16th October, I wonder about his

experience working with the same production

company that created the renowned

End Of The F*cking World for Somewhere

Boy and the excitement surrounding this production.

“Many fans worldwide still want more

from End Of The Fucking World, which was

created by the same production company.

I love the quality of the program. I watched it

after I finished filming Somewhere Boy. I think

84

I found the characters relatable. So many

teenagers get trapped by typecasting. So I

really care about the role I play. There’s an element

of feeling on the outside and wanting

to connect with others.” It’s a role that will see

a lot of attention, so I inquisitively ask what’s

in the works next that fans can look forward

to once they become obsessed with Somewhere

Boy? “I’m not sure specifically when it

comes out, probably April, but It’s called The

Chemistry of Death. It’s a crime fiction. It’s a

very cool cast of Scottish and English actors,

Nick Blood, myself, and Stuart Bowman,

amongst others who are great. I have one or

two scenes that I’m quite proud of. I’m very

close to one thing I’d love to do, but I won’t say

anything incase I jinx it.”

In the space of 5 short years, almost three

of those following a Global Pandemic, Lewis

seems to have found his footing being cast

from one great production to another. And

in the hopes of not jinxing his next significant

role, we come to a close, waving goodbye to

Lewis, who’s due to take on London that night.

It only makes sense for me to say that you’d

be a fool not to tune into Somewhere Boy this

month and the highly anticipated Masters of

the Air in 2023.

Lewis Gribben can be seen starring in Somewhere

Boy on Channel 4 and All4 from 16th

October.

Words: Alice Gee

FRESH

PICKS

WITCHFEVER

Witch Fever are not just a heavy band, but instead a

4 piece that refuse to be defied by gender or genre.

While the subject matter of their songs is often heavy,

Witch Fever’s attitude certainly isn’t. Their videos

have always been vivid and playful, and their set at

this year’s Reading festival overflowed with energy.

Debut album Congregation will drop October 21st

and sets to capture the group at their heaviest and

most challenging yet, incorporating everything from

sludge to new wave while fully evolving the “doom

punk” sounds they’ve become so well known for into

new heights.

DEADLETTER

Hailing from Yorkshire, now based in

South London, six piece DEADLETTER

are making waves as one of the hottest

bands of 2022. The group channel Gang

of Four and Talking Heads and twist their

influence into a strain of fervent postpunk

realism that manages to perfect

that delicate balance of danceable melody

with bone cuttingly honest lyricism.

Their ability to get you jumping doesn’t

cheapen the nuance and grit of their exploration

into the darker side of existence

with a hint of narrative levity.

86

Every issue our resident new music junkie, Jade Poulters, brings you the

brand spanking new artists gearing up to dominate your playlists. In this issue

she’s putting the spotlight on the hot new discoveries found at this year’s

Reading & Leeds Festival. So, open your streaming service of choice, play

them now, and show off to your friends later. And if these 10 don’t quench

your thirst head over to our Spotify page to listen to 20 more amazing upcoming

artists you need to hear. Jade will be updating the playlist monthly, so

don’t forget to follow for updates direct to your pocket!

BILK PANIC CVC

Bilk are three musicians creating

a unique angsty blend of indie,

rap and punk from the suburbs of

Essex, that reflects on the highs

and lows of British youth culture

today. The brainchild of frontman

Sol Abrahams, completed by

bassist Luke Hare and drummer

Harry Gray, their honest social

commentary is as real as it gets

and their live shows are slowly

becoming a thing of cult legend

amongst a new generation of

music fans, resulting in chaos at

venues and festival sites across

the UK. Their debut album has

been pushed back to February

of next year, but with the promise

of some extra new songs, I don’t

think fans will be disappointed for

long.

Welsh punk quintet Panic Shack

have truly been panicking the old

guard of the music industry since

they burst out of Cardiff back in

2020. Their brash, witty lyrics and

killer hooks that crashed through

the live scene with a tidal wave of

ear crunching noise, reputation

building raw live shows and unapologetic

DIY attitude serve as

a huge middle finger to the male

dominated, phallocratic, members

only club that is the London

centric music establishment.

Their mind bending set at Reading

only cemented the fact that

Panic Shacks unhinged but forthright

music will continue to disturb

the order of things.

Influenced by Snoop Dog, Stills

& Nash, Super Furry Animals

and Red Hot Chili Peppers alike,

Welsh six piece CVC brought a

message of peace, love and good

times to the Festival Republic

stage this year. Their summer has

been busy, touring the country

and cultivating a rowdy and highly

dedicated fan base with their

electrifying performances and on

stage muck abouts. Francesco,

David, Elliot, Ben, Tom and Daniel

recently dropped ‘Good Morning

Vietnam’ the first single of their

debut album Get Real, which you

can get your hands on in January.

87

FLOWEROVLOVE

If you managed to catch flowerovlove’s set at

this year’s Reading or Leeds best bank away

those “I saw her before she got big” bragging

rights for a rainy day. You’d never believe this

was 17 year old Joyce Cisses fourth public performance

as she commanded the Introducing

Stage crowd like a seasoned vet, the bright

and calm atmosphere a healthy break from the

heavier punk lineup of the weekend. The south

london school girls catchy lo-fi beats undertone

stories of hope and innocence that keep

you trapped on every word.

PRIESTGATE

Formed as a battle cry against the

mundanity of rural life in East Yorkshire,

Priestgate began as a reaction to the less

than lively local scene that existed in their

hometown. While as teenagers seeking

something to do, it must have felt like a

curse, but the lack of close proximity contemporaries

actually allowed Rob, Bridie,

Connor, Isaac and Kai to create their own

unique style away from the influence of

an overbearing “local sound” that you’ll

quickly get hooked on.

JUST BOY

WONDERING BLEACH

CAITY

BASER

Dublin-based alternative pop trio

Just Wondering stormed into

2022, after a phenomenal 2021,

with two new tracks ‘idk, maybe’

and ‘Just My Luck’. The latter was

only released three weeks before

they took stage at Reading but

already the Sunday afternoon

crowd were singing along. Their

irresistible bop-along grooves

and infectious lyrical earworms

combined with their euphoric and

visceral live shows make them

one to catch next time they are in

the UK.

Fast rising 5-piece Boy Bleach

shook the dead awake on Sunday

afternoon with their socio-political

pop punk offerings. While still

new to the scene their brutally

honest songs, touching on toxic

masculinity, nepotism babies and

of course the current political

climate, have already caught the

attention of the masses with sold

out shows months in advance

and support slots on huge tours

already the norm.

At only 20 years old, Caity Baser’s

effortless knack for catchy

pop melodies, her honest and

relatable lyrics and her unforgettable

live shows has seen her

popularity shoot up in little over a

year. She only recently left her job

working in her local Co-Op store

and has now gone viral on social

media, hit over 10 million Spotify

streams and wowed crowds at

Reading and Leeds fest! Her upcoming

shows at London’s XOYO

are sure to sell out fast so get your

tickets as soon as they drop.

LISBON

Fresh off our short-haul flight to Lisbon, we collect

our bags and swiftly move towards the front of Lisbon’s

Humberto Delgado Airport to take a short taxi

ride into town.

Having left Luton late evening, we arrived feeling

pretty relaxed following our flight with Wizz Air. The

flight itself arrived bang on time, with the organisation

of the stewards being seamless. With premium

seats on Wizz, we could check in our bags ahead of

time with the possibility of up to 3 suitcases, one in

the hold and two small carry on’s perfect for a laptop

and hand held suitcase. The space itself was pretty

roomy for your average airbus. Holding a premium

ticket allows you to board first, which is always helpful

if you’re an anxious flyer or want to settle quickly.

For me, especially flying midweek, the first thing I

want to do is board and organise myself to be able

to do some work. Being able to board quickly, having

any questions answered and the attentiveness of the

stewards is a must, something that didn’t disappoint

when flying with Wizz for the first time. Soon after

takeoff, you could find me typing away with a drink in

my hand, comfortable and well looked after.

Having arrived we jump in a local taxi and move

towards the 1908 Lisboa Hotel in central Lisbon.

Something great about Lisbon, especially for those

visiting for the first time, is that the airport is so close

that the journey, whether you travel on public transport

or in a taxi, is swift. Within 15 minutes of leaving

the airport, we pull up alongside the 1908 building

emulating a much smaller New York Flat Iron. On

our arrival around 10 pm, the staff welcome us with

a smile, checking us straight in before taking us on

a grand tour of the hotel. The 1908’s downstairs is

glamorous while boasting bohemian vibes from

the hotel bar to your right on arrival through to the

restaurant (where you’ll find breakfast), filled with

trendy aesthetics and greenery in every nook. As

you fly upstairs in the hotel’s elevator, you can catch

glimpses of the beautiful murals hand painted on

the side of the hotel. As we arrived on the 4th Floor

in the attic space, we were pleasantly surprised at

not only the communal lounge but also the height

and space that our room boasted. The room fitted

with three sailor portholes provides the room with

bright light when the shutters are unbuttoned. Our

room is, in a word, ginormous, almost the size of my

flat in London, with a minimalist aesthetic. It boasts

a lounge area, bar area, large king bed, which was

so comfortable I never wanted to leave, built-in

wardrobes, and a vast bathroom with a rain shower,

beauty areas, and a plinthed tub to die for. We take a

few moments to feast on some welcoming snacks,

Portuguese Port, and of course, Lisbon’s legendary

Pasteis de Nata (Famous Portuguese custard

tarts) before having one last nightcap outside on

the bars terrace.

90

As we awaken on Friday, pulling down our shutters

to the blue sky, we decide to have a slow morning

with the hopes of getting into full-swing relaxation

mode post-work. We head down to breakfast,

which includes a loaded continental spread and a

broader set of choices from the hotel chefs. Feeling

full we move back to our room to set up for a half

day of work. But before I swing my focus away from

the half day of work, the only thing on my mind is the

tub and a long bubble bath. One of the best things

about our space is that I can separate daily chores

from where we sleep. Although there’s no separating

wall, the lounge still feels removed from the bedroom,

meaning I can focus on sitting at the table and

getting some work done.

As the clock ticks one, we keenly pack up our work

and get ready to leave. For lunch, we decided to

stay local, and when I say local, I’m talking about the

highly recommended (packed last night) restaurant

Palma Cantina across from the hotel terrace.

We chose to eat outside in what is now around

27 degrees. Briefly shaded, we analyse the menu

filled with treats from their wood fire oven. We both

choose the pulled pork burger and a side of fries.

With the first bite, it’s easy to see why the bar was

packed last night, with quick service, fair prices, and

food to die for one to visit.

Arriving in the center of Lisbon, we endeavour to

relax, explore and enjoy everything the city offers.

Still, there’s a second plan, a complete bonus, to

see one of my closest friends, whom I haven’t seen

since I last visited in 2019 before the pandemic. Although

this is the 3rd time visiting the city, one I’ve

fallen in love with, my friend decides to take the

reigns for the rest of the day, firstly taking us down

to the seafront for a tour on electric bikes. I need to

tell you about the hills if you’ve never been to Lisbon.

And when I mention hills, they giveSan Francisco a

good run for its money, so bring a pair of trainers.

Since coming in 2019, the city has embraced other

methods of transport, including electric bikes and

scooters, with Locals able to access them through

a council program at a fraction of the price. Having

changed into something a little more bike-friendly,

we head down towards the famous Commerce

Square and seafront, passing The Praca da Figueria

a large square, and Arco da Rua Augusta An

ornate Triumphal Arch completed in 1875 with detailed

sculptured figures. Once you funnel through

the Arco da Rua Agusta, you’ll cross into Lisbon’s

famous square, a hub of restaurants and movement.

We make our way toward the riverfront in

search of three electric bikes. The riverfront is full

of life, with tourists taking pictures and purchasing

pineapple cocktails. The bikes are comprised of

several companies, including Bolt. All you have to

do is log in to the app and scan the QR code on the

bike, just as you can in the UK. Once you choose

the bike and set the meter going, the bike will unlock,

telling you the mileage remains in the battery (I

advise you to pick the motorcycle with the highest

mileage, which will pop up as you scan the bike). I’m

a big fan of hired electric bikes, often using them

around London. They can reach speeds of around

30mph and are thrilling, all while feeling safe. Lisbon

has adapted perfectly for the bikes, with bike lanes

running throughout our journey through Alcantara

towards our final stop at Torre de Belem, a medieval

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defense tower. Over the 40-minute journey, you’ll

ride through what feels like a number of party bars.

We pull up to another monument on our list Padroa

dos Descobrimentos carved with maritime explorers

before we stop for a drink and patisserie at Café

do Forte. The café overlooks the fort and the sea

with a range of desserts, drinks, and coffee to take

your pick from. We spend some time venturing up

close to the monuments, leaving us impressed at

every minute detail carved and still preserved.

As we welcome in the evening, we decide to jump

into a taxi back to the hotel to freshen up for dinner.

For dinner we wanted to have an authentic traditional

meal, after all, we are in Portugal. We take a

walk, or what could be said as a climb up through

the city as the sun begins to set to O Trigueirinho,

a quaint little restaurant hidden in the hills. The

restaurant although tucked into a nook amongst

what seems a few bars still feels somewhat private

inside and out. After a short wait with it being

a popular restaurant, we study their menu, making

the tough decision to order five different dishes to

cure our authentic Portuguese dinner dream. The

food arrives as we sip red wine. We tuck into a number

of local types of fish with many traditional sides

perfectly cooked with it, quickly becoming one of

our top recommendations if you are searching for

a homemade yet high-quality meal.

After dinner, we decide to head for Miradouro de

Sae Pedro de Alcantara, in my eyes the best place

to view Lisbon at night. Having visited Miradouro de

Sae Pedro de Alcantara for all three trips I’ve taken

to Lisbon, it remains the most amazing views over

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LISBON

LISBON

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the city, bustling with life. While there, you can take

a picture or take a seat with cocktails served by local

vendors. After spending a little time at the viewpoint,

we make our way back down to the hotel creating

a pit stop to look at Lisbon’s colourful trams.

If you are tired or not in the mood for an incline up

to the viewpoint or some of Lisbon’s other gems,

the trams are the perfect method of transport as

they move through and around the city to multiple

destinations. But for now, we walk back to the hotel

to settle for one last drink before falling into our

heavenly bed.

As the sun rises, we head down for our last breakfast

with 1908 Hotel Lisboa before checking out. Although

we are slightly sad to leave 1908 Hotel Lisboa,

thanks to the great room, amenities, and staff,

we are excited to move on to our final hotel stay

with Lumen Hotel. We decide to be cheeky and get

a quick taxi to Lumen, with the heat already taking

its toll. As we jump out of the taxi, we are welcomed

instantly by staff at Lumen, who quickly whisk in our

luggage, even offering to take them to our room.

The hotel is slightly north of Centro in a quiet neighborhood.

As you enter and move towards the front

desk, you see their clean, airy, and minimalist interiors,

with a large foyer of comfy chairs and sofas in

their amazing branded orange. As we take a little

look around the ground floor, we come up to a hotel

bar, and glass windows head to toe overlooking the

garden where their legendary light show that we

are due to watch that evening by local artists.

We open our room on the 3rd floor which overlooks

the garden and terrace. The room is airy and bright,

the city, bustling with life. While there, you can take

a picture or take a seat with cocktails served by local

vendors. After spending a little time at the viewpoint,

we make our way back down to the hotel creating

a pit stop to look at Lisbon’s colourful trams.

If you are tired or not in the mood for an incline up

to the viewpoint or some of Lisbon’s other gems,

the trams are the perfect method of transport as

they move through and around the city to multiple

destinations. But for now, we walk back to the hotel

to settle for one last drink before falling into our

heavenly bed.

As the sun rises, we head down for our last breakfast

with 1908 Hotel Lisboa before checking out. Although

we are slightly sad to leave 1908 Hotel Lisboa,

thanks to the great room, amenities, and staff,

we are excited to move on to our final hotel stay

with Lumen Hotel. We decide to be cheeky and get

a quick taxi to Lumen, with the heat already taking

its toll. As we jump out of the taxi, we are welcomed

instantly by staff at Lumen, who quickly whisk in our

luggage, even offering to take them to our room.

The hotel is slightly north of Centro in a quiet neighborhood.

As you enter and move towards the front

desk, you see their clean, airy, and minimalist interiors,

with a large foyer of comfy chairs and sofas in

their amazing branded orange. As we take a little

look around the ground floor, we come up to a hotel

bar, and glass windows head to toe overlooking the

garden where their legendary light show that we

are due to watch that evening by local artists.

We open our room on the 3rd floor which overlooks

the garden and terrace. The room is airy and bright,

and relatively large. The orange theme continues

throughout the room, with an oversized chair in the

corner of our twin beds. Space-wise, there’s plenty,

a beauty area, desk, and coffee/bar rolled into one

across the side of the room. The bathroom boasts

another large rain shower and vanity area close to

the room door. Something great about the minimalist

approach of the hotel is how they use the

space intelligently, with plenty of storage and multiple

wardrobes built in. With there being two of us,

there is no problem when it comes to storage and

space to unpack. And while we are on things we

love about the hotel, we quickly take the opportunity

to change into our swimwear as we head up to

the roof for their rooftop pool and bar overlooking

Lisbon. The pool area, easily accessible, is home

to not only a bar but deckchairs and coffee tables.

The collection itself is a great size, deep enough

and long enough to have a short swim. We decide

to spend the morning by the pool unwinding from

the past two late nights. For us, this is the time to

soak up the sun and focus on our well-being as we

take turns swimming and sunbathing.

Newly rejuvenated we ready ourselves for the afternoon

in hand, we suit up wisely opting for a pair

of trainers before we leave the hotel to climb Castelo

de S. Jorge, Lisbon’s historic castle. On the way,

we plan for a few stops, including more custard

tarts at Fabrica Da Nata to fuel our climb. You’ll want

to get some tarts from Fabrica Da Nata, so you get

a glimpse into the making of Portugal’s famous pastries

with staff moulding and baking the tarts as they

move on a conveyer right in front of your eyes. After

you’re done observing the baking process, you

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good fun as you zoom around every nook and

corner of the city. As we move around the city, we

are allowed whenever to stop and get out to take

a closer look. The journey includes the church of

Mosteiro Sao Vincente De Fora, the famous place

of rest for many of Lisbon’s famous names. Carrying

on through the original streets of Alfama, we

move through Lisbon’s fashion streets, home to

some of the worlds leading fashion houses before

we reach the hotel.

We have a special treat for dinner tonight, thanks

to Lumen Hotel. We dine in the hotel’s restaurant

with a unique, personally designed chef’s menu as

we wait for the light show to begin. The menu comprises

seven courses, from entrees to dessert, and

a tasting menu of some of Portugal’s finest delicacies.

As we wait for the first course, our mixologist

creates a personal cocktail for the whole table featuring

flavours of mint and cucumber with vodka,

with a cooling, light, and tropical feel. Our first dish

arrives with warm fresh bread, crudities, and fried

handmade onion rings. We move on to sweetened

tuna before tacos are filled with fresh tuna and seaweed.

Next on the menu is tuna tartare, before we

tuck into a homely risotto mixed with tuna and pickled

onions beautifully topped with floral touches.

As we finish our last courses, the chef comes over

to the table to present the finishing touches to our

dessert, a traditional Leite Crème Caseiro, velvety

decadent with smooth custard with contrasting

caramelised sugar alongside vanilla ice cream. For

me, it wasn’t just mouth-watering and delicious, but

the presentation and the thought that went into it

for making it next to none. The chef is a literal genican

head outside to eat the very tarts you’ve seen

freshly made. Sufficiently fed we walk towards Alfama,

Lisbon’s old city, and begin the uphill ascend toward

the castle. On your way up, you’ll have plenty

of chances to take a break, firstly at the Church of

St Anthony, a Roman Catholic church dedicated to

Saint Anthony, before you continue to take in the

first of many breathtaking views at the Jardim Julio

de Castilho. The garden not only boasts incredible

views of Alfama but gardens in full bloom. Once you

reach the top, you’ll be able to enter the castle and

its grounds. Although it does cost a little bit of money

(under €15), entry means you can walk around,

get up close to the castle’s beautiful inhibitors, the

peacocks and climb its ancient walls, which is a little

daunting for someone who’s not a fan of heights but

well worth it as you cling on.

As for our descent, instead of walking the route,

we decided on something a little different, a true

Lisbon treat, a ride on a TukTuk. As we’ve spent

our long weekend wondering and even cycling

around Lisbon, we’ve had a chance to see firsthand

a swarm of TukTuks taking tourists around the city,

which seems to be the most practical way to see

the city while being as close possible. For the journey,

we’ve booked in with the best in the business

O Tuk do Joao.

He picks up by Jardim Julio de Castiho, where you

can either book to be picked up or ride several

others waiting. We decide to tour Alfama, Lisbon’s

oldest town, to see the architecture and some of

Lisbon’s famous murals. Although the journey is a

little bumpy, thanks to the cobblestones, it remains

us—an experience I couldn’t recommend more for

those staying with Lumen.

The lights are projected onto the hotel’s wall as we

finish dinner with a countdown to the show. We

gather ourselves and take our seats in the garden.

The light show promises to honor Lisbon’s lights

with an immersive visual and audio experience. The

lights light up the interior garden of the Lumen hotel

daily, showing Lisbons charm and inspirations inspired

by the city itself. As the show begins, you are

engulfed, by music and lights that are moving you

through the beauty of Lisbon, from the famous tiling

patterns to the personal stories behind those who

live in the beautiful city. You can watch the lights

from the garden, restaurant, or the rooms above if

you fancy a bit of privacy.

Following the meal, which I can only describe as out

of this world, we gather ourselves (needing a good

10 minutes following how much we’ve eaten), and

we head out for one last hurray before we leave the

following evening. Tonight we head back to Alfama,

the party hub of Lisbon. We move through the

packed streets towards a retro trendy townhouse

with a bar and window balconies. We stay for an

hour or so chatting away the night before the clock

strikes 2 am and we call a cab back to the hotel.

The following day I woke early, much to my annoyance.

Instead of returning to bed, I take my Sunday

gym routine downstairs to Lumens gym. The gym,

as far as hotel gyms often go, is well equipped with

machines for cardio, alongside yoga mats and

weights. I don’t have to deviate from my usual routine

in particular. Thankfully there’s aircon as I work

up a sweat before a full breakfast spread for our last

day in Lisbon.

Following breakfast, we quickly get ready, leaving

our luggage secure at the hotel. The key to a good

hotel in terms of luggage is knowing I can leave my

luggage safe when I have a late evening flight back,

allowing me to explore the city one last time. With

our flight back at 9 pm, we chose to spend the day

in the city visiting the oldest book shop in Lisbon

and taking a famous short tram ride up to Jardim do

Torel to see the fountain and take one last look over

Lisbon. As we make our way down on the tram, we

move towards the square by the seafront to have

one last lunch at Nosolo. We take the last few hours

at a slower pace seeing my friend for the last time

before we make a quick stop at Lumen to say thank

you as we head back to Lisbon’s airport. With the

flight being late evening, it leaves us two hours to

move through security before going to town duty-free,

buying some of the best foods and drinks

the country offers to take home. We took our space

in the premium line to board with Wizz Air, who organised

us quickly on the plane before looking after

our every need throughout the flight as we finally

landed in London’s Luton.

Although we feel tired driving back into Londons

city, we also feel glad to have had such an incredible

long weekend, not only recharging our batteries

but exploring so much of Lisbon’s beauty. If you’re

looking for a city to explore, and relax at any pace

you want, don’t overlook Lisbon. It presents incredible

traditional food and culture whilst being close to

HATC AUTUMN TRACKS 2022

this is why - paramore

beep – m.i.a

smoke and fire – lapsley

lazy – baby queen

hallelujah - the snuts

body paint – arctic monkeys

bad habit– steve lacy

antifreeze – easylife

unholy - sam smith

my g - aitch, ed sheeran

i like you (a happier song) - post malone, doja cat

there’d better be a mirror ball - arctic monkeys

forget me – lewis capaldi

break my soul - beyonce

shower with my clothes on - ashe

the perfect pair - beabadoobee

nostalgia – Suki waterhouse

hannah montana – flowerovlove

starlight – dave

supernatural – barns courtney

Priestgate

102

HATC HOT PICKS 2022

The party song - uninvited

supa natural -emby

persuader - lice

cousin sam - anorak patch

fade to black - meduulla

sweat - claudia valentina

joe - joesef

feed my desire - grove

zidane -bemz

detached - jazmin flowers

what do you mean - gabe coulter

Blood drunk - corella

female lead - honey glaze

i know - sisi

funeral - dolores forever

knock knock - dandlion

we made plans & god laughed- beauty school drop out

another round - the scratch

deep fried - miso extra

miss me now - brooke combe

103

HA

TC

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The Vamps Issue 9

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