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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!
LIVEreviews
HONEY REVENGE & RAIN CITY DRIVE | ELECTRIC BALLROOM, LONDON | 31 JANUARY
NEW!
The energy at the Electric Ballroom was nothing short of electric as three powerhouses of the modern alternative scene hit Camden Town. From Belmont’s pop-punk chaos to the co-headliners Honey Revenge, with their infectious pop-rock, and Rain City Drive, with their emotional rock anthems, Saturday night was a pure delight for alternative fans.
If Belmont brought grit to the stage, Honey Revenge came with glitter and a definite sharp, pop punk-rock twist to it. Since forming in 2021, vocalist Devin Papadol and guitarist Donny Lloyd have mastered the art of the "rock-show-meets-dance-party."
The front woman is a whirlwind of charisma, delivering a vocally perfect performance punctuated by high kicks and constant movement, whilst Lloyd brought infectious energy and a never-ending smile to a very excited and engaged audience. Originally a two-piece band, the duo was also accompanied on stage by bassist Sher and drummer Matt, who were a beautiful addition to the outfit, also bringing their colourful flair and electric energy.
The performance felt more like a dance floor than a rock show, which was clearly intended by the band, as per Papadol’s request before introducing a new, unreleased song later halfway through set, “we’re gonna dance like it’s a club London, I want to see you move”.
The show was also a masterclass in crowd control by the band: whether Papadol was asking for "any sensitive bitches in the house" before introducing the track ‘Sensitive’, or inviting the crowd to "shake some ass" during the infectious ‘Favorite Song,’ the engagement never dipped and the energy was always on a constant high.
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
HARPY - VII | 28 NOVEMBER
After a huge past year and a half playing major festivals such as Download and 2000trees alongside a bunch of support slots, Harpy has ended 2025 by releasing her first bigger project, the VII EP. Inspired by the legacy of the Seven Deadly Sins, with each of the seven tracks soundtrack one of Harpy’s transgressions. Pride, greed, lust, envy, gluttony, wrath and sloth. It’s everything we know and love from previous releases, just heavier, darker and has a more industrial twist to it.
You’re hit right from the start in the best way possible with opening track ‘Inferno.’ If I had to pick one Harpy track for her to be instantly recognised by, I'd want it to be this one. It perfectly merges dark rage with upbeat chaos. Throwing you straight into an alt-rock, industrial verse that explodes into a chorus that is the best example of how much of a powerhouse Harpy is vocally. ‘Inferno’ serves its purpose as an introduction track with its ability to combine what we can expect to hear from the remainder of the EP.
Following this is a track you may recognise, especially if you have seen Harpy live this year. ‘Last Time’ is pretty much the definition of why you may see people holding up “Goth Metal Mommy” signs at her shows. This is the type of song that you need your best headphones for with the volume all the way up. Featuring a beautiful guitar solo that escalates the sensual tone to another level.
‘Call Me Mommy’ is a standout moment in this project as although it has that iconic Harpy sound, it’s also the most electronic work we’ve been given, which pairs together perfectly and I'd love to hear more of it. All I can think about when this track is playing is how good it would sound live, especially in a club style venue.
We’re not even halfway through the EP and we’ve experienced so many different styles being explored which has already made this an easy listen. ‘Dark Matter’ is a track that wouldn’t sound out of place on the latest Nova Twins album. It’s the slowest and shortest track on the record but one of the most powerful moments.
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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