AN INSIGHT
into THE Live
MUSIC SCENE
ROCK
✦
METAL
✦
ALTERNATIVE
✦
POP
✦
INDIE
✦
ROCK ✦ METAL ✦ ALTERNATIVE ✦ POP ✦ INDIE ✦
for all music lovers
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
MOTIONLESS IN WHITE | ALEXANDRA PALACE, LONDON | 14 FEBRUARY
NEW!
For any fanbase, four years is a serious amount of time to be waiting for new music. Since 2022’s Scoring the End of the World, Motionless in White have left fans hanging, but the wait is over. Latest single, ‘Afraid Of The Dark’ hails the next epoch of the Pennsylvania Goth Metallers and they have thrown all caution to the wind and headed out on a UK and EU tour, solely based on this 4 minutes of new material. They're keen, we're keen - bring on the theatrics.
As tolling bells rang out across Ally Pally and the bizarre spinning cat opening credits concluded, Motionless in White greeted their biggest ever London crowd with an early onslaught of pyro and an appearance from the feisty Cherry Bombs dance troupe welding flame throwers. Starting as they meant to go on the drama and energy was a 10/10 from the opening notes of ‘Meltdown’.
Bathed in green light, the set really got going with the Cherry Bombs returning, this time with sparking angle grinders as frontman Chris Cerulli yelled across the expanse, “When I count to four, this entire floor goes up and down. This one is called ‘Sign of Life’”.
Cerulli then took a second to humble himself in front of the room, “I'm just gonna stare at you guys for a second is that okay? It is Valentine's Day after all, I just wanna adore you.” Motionless in White are that stereotype of alternative people who look scary as hell but are actually the sweetest souls, the sincerity of Cerulli's appreciation obvious.
'A-M-E-R-I-C-A' followed, a prime example of the political angle that some Motionless in White songs lean into, it was also a massive sing-along moment.
ONLY THE POETS | O2 ACADEMY BRIXTON, LONDON | 2 FEBRUARY
NEW!
You can’t summarise a decade of hard work and a literal industry revolution in two paragraphs. If you were there, you’ll know why every word matters; if you weren’t, settle in, because Only The Poets (OTP) showed us exactly how you execute a mission successfully.
There is an old proverb in the corporate world that people don’t invest in businesses; they invest in people. On a cold Monday night in South London, 5,000 people didn't descend upon this landmark venue simply to hear catchy hooks; they were there to back four human beings who have spent a decade refusing to sell their souls or price out their fans.
In a landscape dominated by "Ticketmaster wars", dynamic pricing, and the soulless privatisation of live music, they decided to flip the script entirely. By charging just £1 for a headline slot at this iconic venue - matching the price of their first-ever gig seven years ago at Reading’s Purple Turtle - the band turned a sold-out gig into a “monumental” protest (pun intended).
Behind the band hung a simple, defiant sign: "Live Music is not a luxury; keep it accessible." This was a mission statement, not some opportunistic slogan or a trend they decided to hop on for the Brixton stage; it’s a philosophy they’ve been vocal about since day one. This is exactly why they have managed to build such a formidable, loyal following: they are consistent in an industry that rarely is. While it’s easy for an artist to dream up a clever gimmick for a quick PR win, Only The Poets stand out because they’ve proven they actually care about the health of the live circuit. This wasn’t a marketing stunt; it was the culmination of a decade of hard work, grit, and a refusal to forget where they came from.
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.
musicnews
Upcoming live events
THIS WEEK’S FAVOURITE TRACK
We can’t get enough of KATSEYE’s catchy new single ‘Internet Girl’.
aboutus
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)
For any submissions please explore our CONTACT page.