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London Music Scene Blog

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

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

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

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

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

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

The Gillies Shattered Stirred Scarred Souls with Americana Folk Reverence in ‘It Hit Me Like a Bullet’

It Hit Me Like A Bullet by The Gillies

There’s no escaping the arcane aura of It Hit Me Like a Bullet, the latest release from the award-winning contemporary Americana folk duo, The Gillies. Through shimmering organ tones that swell around the arrangement and seraphically panoramic vocals, the single welcomes Americana Folk home on London’s streets. The Gillies – Susan Turner and Mark Evans – have long been revered for weaving steel-strung and tenor guitars into haunting odes to love, loss, and tangled relationships. True to their reputation for creating ‘music for your graveside’, they set raw emotions free without straying into needless theatrics.

It Hit Me Like a Bullet is salvation in sound, an invitation to tend psychological wounds no matter how raw. The imagery the cinematically intimate arrangement conjures transcends the more than a thousand words phenomenon, unchaining the soul, giving it permission to feel as free as the breezy melodies within the track.

If you know how it feels to find your feet after life broadsides you with perpetually unravelling perplexity, find your peace in the authentic euphony of It Hit Me Like a Bullet. The Gillies, whose previous works like ‘6am’ earned accolades such as Best Single in the GSMC Music Awards 2023 and selections for Fatea Magazine’s showcase sessions, continue to affirm why their understated melodies and timeless themes resonate on both local and international stages.

It Hit Me Like a Bullet is now available to stream on all major platforms, including Bandcamp. 

Review by Amelia Vandergast

John Arter & the Eastern Kings Built a Red and Blue Striped Monument to Resilience in ‘The Many Ways’

The Many Ways by John Arter & the Eastern Kings, which wound its way onto the airwaves on April 24th, is steeped in Americana reverence, puts the emotive vocals front and centre, and carries the timbre of a roots-deep Eddie Vedder through the instrumental arrangement as it crescendos through overdriven guitars and a percussive pulse that keeps you anchored in the eye of the affecting storm.

Clearly an outfit who have learned the art of intricate arrangements that visualise the pain manifesting through the lyrics and vocals, John Arter & the Eastern Kings are so much more than a breath of fresh air; when it comes to the real deal, they hold all the agony-streaked cards. As an anthem of resilience that allows pain to permeate every sonic pore, The Many Ways is a testament to the trials we all endure as we follow our thorned paths.

John Arter leads Eastern Kings with a voice that floods rooms and leaves an indelible mark. Together, the band orchestrate a sound built on cinematic energy, layered emotionality, and a rare synergy, brought to life with rousing guitar solos and the haunting textures of live violin arrangements. With their fusion of country, folk, and classic rock spirit, Eastern Kings are proving that while trends come and go, raw authenticity remains a vital force.

The Many Ways is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast

Gbogboade Sculpted a Soulful Monument to the Frequency of Love’s Fragility with ‘Where Do We Go?’

With the organic percussive textures tapping against the iridescent synth lines, in all of its questioning, Where Do We Go? is an instrumental study in contrasts as Gbogboade exhibits how his passion and adoration remain unflinching in the face of uncertainty. With expressions of jazz and spoken word recordings which run just as smooth as his harmonies, the track is a complete exposition of what it means to love in the presence of doubt, not letting it slip through fear of loss, but instead, allowing your soul to remain steadfast in the presence of limitless possibilities.

Drawing on his Nigerian roots and his London experiences, Gbogboade pours his dual heritage into his sonic signature. Known for his seamless infusion of soul, jazz, hip-hop, and Afro-rooted rhythms, he creates sonic worlds that pulse with lived reality. Influenced by D’Angelo, Solange, Kendrick Lamar, and Burna Boy, his music refuses to shy away from vulnerability, strength, and the tension that pulls between the two.

Where Do We Go? serves as the centrepiece of his forthcoming EP, a three-track reflection tracing love, uncertainty, and transformation. By anchoring the composition with 85 BPM rhythms and layering in analog warmth, Gbogboade offers a rich, emotionally charged soundscape that honours both his Lagos upbringing and his diasporic evolution.

Where Do We Go? is now available to stream on all major platforms, including Soundcloud.

Review by Amelia Vandergast

Big C brought the house down with his grime anthem, Work Out

There’s workout music, and then there’s the adrenalising anthem Big C cooked up with ‘Work Out’. Dropped on April 10th with an official video already pulling in over 10,000 views, Big C delivered a grime-charged pulse-pounder that throws motivation straight through the speakers. With all the viral potential of ‘Put a Donk on It’, Big C has every chance of becoming the Blackout Crew of this generation.

The UK-based artist, who splices grime, rap, and house into fresh, high-energy fusions, tailored ‘Work Out’ for fitness fanatics, gym warriors, and anyone needing a sonic caffeine hit. If you’re struggling to find the motivation to pump the iron, stick this on your playlists and get hyped by the vibe that sneaks motivation around the anthemic dance-worthy beats.

Big C quite literally brought the house down with this grime anthem. The body-moving basslines don’t just fire up your muscles — they light a fire under your ambition. Every verse punches with the precision of a heavyweight fighter, while the beat races ahead like it’s got something to prove.

For anyone seeking a track to sweat, stomp, and smash through limits to, ‘Work Out’ is the pure sonic adrenaline your playlists have been crying out for.

‘Work Out’ is now available to stream on all major platforms. For the full experience, stream the official music video on YouTube. 

Review by Amelia Vandergast

Cinema Painted Dusk with Unconditional Indie Folk Pop Affection in ‘When the Sun Goes Down’

With a title that frames the dimming light as more than a shift in the sky, ‘When the Sun Goes Down’ by London-based indie pop artist Cinema sinks into dusk with the kind of melancholia that only surfaces when you’re caught between the tendrils of longing. Through emotive vocal inflections, Cinema transforms a quiescent lo-fi folk-adjacent soundscape into an affecting invitation to feel the claws of compassion as you listen to the diehard romantic candour.

There’s no sleight of hand behind the heart-stirring honesty—just the kind of stripped-back introspection that sharpens with every whispered syllable and picks its battles with silence. With the same evocative intimacy as Cultdreams tied in with more mainstream indie folk pop appeal, Cinema has scored the ultimate formula to break out of the mainstream. The production refuses to rush, giving space to each aching note to stretch and settle under your skin, proving that emotional weight doesn’t need orchestral theatrics to be devastatingly impactful.

In the same way Frightened Rabbit disarms you with the artful agony, Cinema, with When the Sun Goes Down, takes the sum of its parts and calculates it into a profoundly moving sensory experience. If you needed any proof that there’s beauty in vulnerability, it’s in black and white in the kaleidoscope of unflinching confession of unconditional love which veers away from cliché, hitting all the right chords to attest to the striking sincerity with which it was composed and performed.

When the Sun Goes Down is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast.

Kunle B – Wasting Time: A London Edge to R&B’s Classic Pulse

Kunle B

Kunle B may have cut his teeth in church pews and school halls, but his latest single Wasting Time proves he’s now fully in command of the late-night airwaves. Dripping with early 00s R&B swagger and wrapped in the kind of sensuous vocal delivery that leaves fingerprints on your soul, the track is a bold return for the Londoner who’s rebuilt his sound from the ground up after a vocal haemorrhage threatened to pull the plug on his rise.

He doesn’t just throw down smooth grooves—he stakes his territory with a voice that oozes intent. The cheeky edge in the voice note interludes grounds the track in the reality of London’s grit, while the sultry rhythm guitar flickers with Latin heat. It’s this juxtaposition—between street-smart bravado and slow jam sensuality—that makes Wasting Time so addictive.

The influence of Brandy, Craig David, and Michael Jackson is felt in the meticulous vocal layering and slick phrasing, but Kunle B brings something fresh with his aphrodisiacal tone and instinct for emotional weight. Every line is shaped with purpose; every harmony lands with a sting.

Having climbed from mashups on socials to writing for others and securing his own development deal, Kunle B isn’t leaning on anyone else’s vision. He’s here to push R&B forward, spotlight Black male artistry, and show the UK doesn’t need to look across the Atlantic for this calibre of soul.

Wasting Time is available to stream on all major platforms, including Soundcloud, now.

Review by Amelia Vandergast

Xy Gala Wires Electricity into the Mundanity of Existence in ‘Lifeless Life’

‘Lifeless Life’ opens a pop-hooked Pandora’s box of a paradox, reflecting on how life often inhibits feeling alive, especially as we become numb to atrocities and the monotonies of daily existence. Between the diaphanous candour pouring from Xy Gala’s confessions and the beat that brings a pulse of resistance to the mediocrity of reality, it’s impossible not to lock into the track and feel that he has a gift for unifying those who aren’t content to go through the motions, who struggle to find meaning and pleasure within their autonomy.

It’s a haunting track, sure to vindicate anyone who knows how emotionally paralysing it is to keep your head above water. The electro-rock riff blazes through the mix before the hauntingly pensive, cinematically raw outro, affirming that Xy Gala never pours half measures into his alchemic cocktail of pop, rock, electronica, and trap. The soaring chorus and the Santana-esque guitar solo inject an unforgettable energy into the track, fusing genres into a sound that fans of Post Malone, Falling in Reverse, and The Kid LAROI will appreciate.

The London-based luminary, Xy Gala, has never sounded more authentic or essential. ‘Lifeless Life’ is out on 21st March 2025. Hear it on Soundcloud.

Review by Amelia Vandergast

L33A.P Drops a Sugar-Rush of Club Nostalgia with D10R2004

L33A.P knows exactly how to tap into nostalgia without letting it weigh down the present. D10R2004 is a shot of Y2K club euphoria, drenched in bouncy house beats, 80s synth stabs, and 8-bit melodies that feel like a lost ringtone from a Motorola Razr in the best possible way. It’s twee, it’s polyphonic, and it’s a feel-good anthem that refuses to apologise for revelling in the hyper-feminine aesthetics that pop culture loves to dismiss.

The London-based, NY-born producer, DJ, and multi-instrumentalist wears her influences on her sleeve, fusing the pulse of UK dance music with the playfulness of early 00s Eurodance. The autotuned vocals glide through the mix with an artful duress, bending and warping like an overworked CD skipping in a neon-lit club basement. There’s no self-conscious posturing here—just an artist celebrating what she loves with unapologetic confidence.

That refusal to conform isn’t limited to D10R2004. L33A.P has been busy remixing Everything is Romantic by Charli XCX with jungle-fuelled chaos and putting her own stamp on the Twin Peaks theme with a pumpin’ organ house spin. She isn’t chasing trends; she’s building soundscapes where retro-futurism collides with personal expression, and D10R2004 is the perfect entry point. It’s music for the dancefloor, the dressing room, the night bus home—wherever you need a dose of unfiltered fun.

Stream D10R2004 on SoundCloud now.

Review by Amelia Vandergast

Holly Wilks’ ‘Me (and all the versions I’ve never been)’ Holds a Mirror to the Inescapable

Never one to scratch at the surface of superficiality with her lyricism, Holly Wilks is building a legacy by piecing together the fragments of the human experience, allowing her fans to see the bigger picture. Her latest single, Me (and all the versions I’ve never been), may be ethereal, but its weightlessness doesn’t detract from its impact. The melancholy within the lyrics cascades through the dreamy ambient hues, nodding to contemporary pop trends before drifting beyond the mould.

With razor-sharp confessions that affirm just how much painful introspection was poured into the release, Wilks is guaranteed to ease coming-of-age pains. Any fans of Mitski and Lucy Dacus will instantly feel at home within the bitter-sweet vignette, which explores how our deepest longings aren’t for material possession, idealised romantic dynamics, or status—it’s being the best version of ourselves, with no idea how to get there.

“I’m smaller than I’m meant to be” is a lyric that will haunt me for the rest of time. Amid widescreen indie melodies and smoky, ageless vocals, raw obsessive thoughts oscillate through the release which occupies instrumental spaces other songwriters wouldn’t dare to fill. If you’re tired of songs that skim the surface, Wilks is waiting with a track that cuts deep.

Me is available to stream on all major platforms, including Spotify, now.

Review by Amelia Vandergast

Ivana June Redefines Heartache By Exploring the Hypnotic Intersections of RnB, Bossa Nova & Indie in ‘Around’

Ivana June refined the entire London RnB scene in the space of three sensuously stylised minutes with her latest single, Around. With contemporary indie sensibilities, a deep reverence for soul, and a voice that leaves no celestial beguile to be desired, the hypnotic indulgence transcends sound as it euphonically reverberates through you, allowing accordance to creep into every corner of your psyche. If this was the 17th century, she’d be burned at the stake for the alchemy which breathes through the cathartic tempo.

As her most emotionally intimate release to date, Around captures the cognitive dissonance of heartbreak—the push and pull between the joy someone once brought and the pain they left behind. Through soft and supple harmonies, June commands sonic subjugation, lulling listeners into an ethereal, lush-with-wavy-saturated-reverb bittersweet reverie of a remedy.

Blending her love for groove, jazz, and storytelling, Around intertwines Bossa Nova rhythms with warm RnB and soul melodies, dreamy guitar lines, and raw yet gentle vocals. Co-produced alongside Pete Anderson, the track is infused with the influences of Cleo Sol, The Marías, and Amy Winehouse. A self-taught multi-instrumentalist with a gift for evocative lyricism, June has been lighting up London’s live scene with her band, set to perform Around at her headline show at 91 Living Room on March 14th.

If any newcomer has what it takes to steal the spotlight away from 2025’s biggest stars, our money is on Ivana June. This is just the beginning. Stream the single on Spotify from March 7th.

Review by Amelia Vandergast