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Loreen at Eventim Apollo
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Livesphere is an online music magazine led by a female collective united by the love of music, dedicated to bringing you the latest music news, reviews, live photos and insights, predominantly in London and the UK as well as throughout Europe. Whether you're a fan of rock, metal, alternative, pop, or indie, we’ve got you covered with in-depth features on artists, album releases, concert reviews, and interviews.

And don’t forget to check out the Live Events section to stay updated on what’s to come!

LIVE reviews

KAISER CHIEFS | EVENTIM APOLLO, LONDON | 20 FEBRUARY

NEW!

After a summer that reminded everyone exactly why they remain one of Britain’s most electrifying live bands, Kaiser Chiefs are back on the road. The summer included a headline stealing set on Glastonbury’s Pyramid Stage, a triumphant night at Alexandra Palace Park, and a huge hometown celebration at Leeds’ Temple Newsam Park. The band have carried their 20 Years of Employment anniversary into 2026 and with demand showing no signs of slowing, this latest run of dates feels less like a victory lap and more like a statement that they’ve still got what it takes.

That momentum rolled straight into a sold-out night at the Eventim Apollo, where, long before doors opened, fans were already snaking around the block, swapping stories of past gigs and debating which songs outside of Employment would make the setlist. There was a sense of anticipation in the air, unsurprising when a band with this kind of loyal fanbase returns in celebratory mode. Inside, the atmosphere buzzed with restless energy as those who had made it inside early waited for the music to begin.

When Kaiser Chiefs first announced this tour, fans knew to expect something big. "This summer, we played a load of shows to mark the release of our debut album Employment. It went well. Probably better than our first summer 20 years ago. It was the year after that first year that things really took off..," frontman Ricky Wilson said of the announcement. "So we hope you will join us in February to help celebrate with us the year it really took off.” This is a good point that reminds us that even with a stellar album, things might not actually go from release to hit song instantly.

OF MONSTERS AND MEN | ROUNDHOUSE, LONDON | 18 FEBRUARY

NEW!

In north London, the iconic Roundhouse became a hub for pure indie-folk music and Icelandic magic as Of Monsters and Men's The Mouse Parade Tour rolled into town for two special nights. Returning to the capital for their first headline shows in nearly seven years, the band performed with an infectious positivity and humility that turned the historic venue into a massive celebration for old fans and newcomers alike.

When Of Monsters and Men took the stage, the focus shifted to a career-spanning setlist that highlighted their new album released last year, All Is Love and Pain in the Mouse Parade, including ‘Television Love’ and ‘Dream Team,’ before an early energy shift occurred with the fan favourite ‘King and Lionheart’ from 2011’s debut album My Head Is an Animal, prompting grins and smiles from everyone around.

Nanna Bryndís Hilmarsdóttir and Ragnar Þórhallsson’s complementary voices were as enchanting as ever. "We are Of Monsters And Men," Nanna greeted the crowd to a roar of applause, "and we’re gonna play some songs tonight!" The band’s chemistry was palpable, especially when Ragnar jokingly introduced the next song ‘Tuna in a Can’ by stating, "This one is about fish."

The musicianship throughout the night was nothing short of elite and a key feature in Of Monsters and Men’s performance. Arnar Rósenkranz Hilmarsson’s drumming was the clear heartbeat for the set, particularly during the rockier track ‘Alligator,’ which saw the crowd erupt into dance moves.

The band members clearly enjoyed the circular stage of the Roundhouse, with Ragnar admitting, "I wish I could play in a circle all the time, it’s better." This intimate configuration reached an emotional peak during ‘The Block,’ where the entire band gathered in a tight circle to sing in unison, creating an ethereal, hauntingly beautiful moment.

ALBUM reviews

SOFTCULT - WHEN A FLOWER DOESN’T GROW | 28 JANUARY

NEW!

For Softcult, twin sisters Mercedes and Phoenix Arn-Horn, moving from a few short EPs to a full-length album feels like finally getting to tell the whole story. While their early singles were quick snapshots of emotions, a debut album is the first time the siblings have the space to really open up.

On their debut full-length When A Flower Doesn't Grow, the siblings deliver Softcult’s most unflinching work to date. Born from a period of personal upheaval, the album explores the path from trauma to liberation, anchored by a central philosophy: “When a flower doesn’t bloom, you fix the environment in which it grows, not the flower.” The album’s title is a nod to the environmental and social factors that stunt personal growth. Throughout the tracklist, the sisters tackle heavy themes with a blend of empathy and righteous anger: predatory behaviour, gaslighting and empowerment.

After years of testing out their sound and finding their voice, this record is where everything finally clicks. Produced by the band themselves, the production on this record is a massive step forward. It retains the shimmering textures of Cocteau Twins and the crushing, reverb-soaked weight of My Bloody Valentine, but there is a new "cleanliness" to the melodies that allows Mercedes’ vocals to pierce through the atmosphere and make the Softcult sound truly their own.

The album’s title is a nod to the environmental and social factors that stunt personal growth. Throughout the tracklist, the sisters tackle heavy themes with a blend of empathy and righteous anger: predatory behaviour, gaslighting and empowerment.

After a brief, soft intro track, the album opens up with the single ‘Pill To Swallow’ setting the stage with a masterclass in the "spiritual grunge" sound that the Arn-Horn siblings have pioneered: an immersive blend of shoegaze textures and 90s alt-rock grit.

MOTHER VULTURE - CARTOON VIOLENCE | 15 JANUARY

NEW!

Everybody say "Thank you Mother Vulture". In the deep, dark depths of frozen January there is salvation from the humdrum to be found in the electrifying pandemonium of Cartoon Violence. If anyone was worried this album couldn't live up to 2022's raucous Mother Knows Best, they needn't have lost any sleep, Cartoon Violence is a demonstration of what happens when determination and creative skill combine, expertly steered by four individuals who know who they are as a cohesive group and how to flaunt themselves convincingly through music. Where some rock artists aim to give the sonic version of a middle finger, Mother Vulture instead beckons.

‘Mike Check’ opens by sampling Mike Patton of Faith No More going in on Wolfmother at Lollapalooza Festival, before a rip roaring scream by singer Georgi Valentine and one of Chris Simpson's filthy bass riffs flings us into proceedings with no safety harness in sight. This album opener does indeed conjure the feeling of being thrown around violently on a fairground ride, dangerous but in a thrilling, moreish way. 

Don't imagine the rest of the album will loosen its grip though, ‘Sufferin' Succotash!’ is similarly frantic but in more of an unhinged- toddler hopped up on sugar way as it surfs through multiple tempo changes, breakdowns, vocal effects, moments of self-aware humour and a tasty guitar solo from guitarist Brodie Maguire.

‘Treadmill’ rumbles on relentlessly, manifesting the song's theme- "Life ain't a highway no, it's a treadmill'. The first of only four tracks on this album released prior to the full offering, it is a darker, more intense moment with a serious subject of monotony and the struggles many may have experienced. ‘Treadmill’ also features Valentine singing in Bulgarian for an entire verse, the icing on the cake of a true journey of a song.

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We are an inclusive, independent, non-profit publication led by a female collective launched out of sheer passion for live music and all things music related.

Executive Editor and Photographer: Florelle Servageon

Contact: florelle@livesphere-magazine.com

Editor and Photographer: Eva Grant

Contact: eva@livesphere-magazine.com

Lead Writer & Photographer: Imogen Bird

Contact: imogen@livesphere-magazine.com

Writer (Platform ‘96): Vlad-Paul Ghilaș

Contact: platform96events@gmail.com

Contributors: Nadine Goetz (Writer and Photographer), Justyna Serafin (Photographer), Bia Vismara (Writer), Isabella Jacklin (Writer), Maria Dominici (Writer), Cat Wiltshire (Writer), Auré (Writer), Liv Kendall (Writer), Verity Eaden (Writer), Julie Moisson (Writer), Julia Jevzikova (Photographer), Charlie Wright (Photographer)

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