The BPI recently published ‘All About The Music 2026’, a yearbook of figures, patterns and trends from the UK’s music industry based on 2025’s market. They use data from the UK Official Charts statistics to reveal the nation’s fluctuating tastes and what it means for both artists and listeners. This year’s edition found that in 2025, rock music accounted for 22.2% of overall single consumption, shy of pop’s 33.3% – a 0.8% increase over 2024 and the highest share rock has had since 2016.

The latest boon in the genre’s performance has been aided by six songs classified as rock entering the UK Top 10 this year, especially compared with only one achieving the feat in 2020. One such single from 2025 was English indie rock star Sam Fender’s BRIT Song of the Year winner ‘Rein Me In’, featuring Olivia Dean. The song broke a chart record by spending 35 weeks in the Top 40 Chart before finally clinching the number one spot this February, becoming Fender’s first UK number one single and his first entry on the US’s Billboard Hot 100.

New acts breaking through were responsible for more growth, such as British metal sensations Sleep Token, whose single ‘Caramel’ was their first in the Top 10, while American singer-songwriters Gigi Perez and sombr had chart success with tracks ‘Sailor Song’ and ‘Back To Friends’ respectively. Other big rock entries this year profited from online trends and nostalgia to climb back up, including Benson Boone’s ‘Beautiful Things’, which endured from 2024 to become the biggest rock song and 7th biggest overall chart single of 2025’s year-end list. Goo Goo Dolls’ ‘Iris’, The Killers’ ‘Mr Brightside’ and Fleetwood Mac’s ‘Dreams’ all also made the Top 40 final list.

Rock also cemented its place as the biggest genre for album consumption, increasing from a 35.3% share of stats in 2024 to 36.0% last year, handily beating out pop’s 28.9%. Of the four albums they class as rock to make the year’s Top 10 Album Chart, two were a by-product of Oasis’s reunion and their enormously-successful world tour. Their 1995 LP ‘(What’s The Story) Morning Glory’ and 2010 greatest hits compilation ‘Time Flies… 1994-2009’ both re-entered the charts, alongside Fleetwood Mac’s 2018 compendium ‘50 Years – Don’t Stop’.

The biggest rock album released last year was Sam Fender’s ‘People Watching’ which won the 2025 Mercury Prize, and had the highest first-week sales of any album for the year. Of the 17 rock albums to top the charts throughout 2025, 15 were by British artists, coming from Aerosmith and Yungblud’s collaborative release ‘One More Time’, Pulp’s comeback album ‘More’, and Sleep Token’s ‘Even In Arcadia’ among others. The news, which the BPI published on the 29th of April, comes in a week where Welsh metal group Skindred have just achieved their first Number One Album after 30 years with ‘You Got This’. Further statistics from the research show that rock accounted for a commanding 54.9% of vinyl sales in the UK, bolstered by modern pressings as well as genre-defining classics such as Fleetwood Mac’s ‘Rumors’ and Pink Floyd’s ‘Dark Side of the Moon’.

The BPI’s Chief Executive, Dr Jo Twist OBE, says “For decades, rock has played a critical role in maintaining and enhancing the UK’s status as a global music superpower. This was truer than ever in 2025. Rock has long flourished thanks to its incredible foundations built on a deep, exceptional and still-cherished back catalogue. We can now add to that contemporary stars such as Sam Fender, Sleep Token, Wolf Alice, and Yungblud, who hail from across the UK and who are breathing new life into this much-loved genre both at home and around the world.”

You can explore these findings and more in ‘All About The Music 2026’, which is free for BPI members and available for purchase now on their website. The institute is also planning a live ‘insight session’ titled ‘The Long Play: UK Rock in the Age of Streaming’. The event will be a deep-dive into rock’s enduring popularity and where it goes from here, featuring panels of industry experts. The event is today, the 30th of April, held at Liverpool Sound City – click here for more info.

Following the 1979 dissolution of female punk trendsetters The Runaways, in which Jett played guitar and sang backing vocals, she found herself in England starting her journey as a solo artist. Here, she recorded three songs with the Sex Pistol’s Paul Cook and Steve Jones, one of which was a demo version of ‘I Love Rock ‘n Roll’, before recording a self-titled solo album at London’s Ramport Studios, which was owned by The Who. She then formed The Blackhearts, and later reissued the self-titled album as ‘Bad Reputation’ in 1981.

From there Joan Jett and The Blackhearts released their full debut LP as a group, 1981’s ‘I Love Rock ‘n Roll’, the title track of which topped Billboard’s Hot 100 chart for 7 successive weeks and was inducted into the Rock and Roll Hall of Fame in 2016. Jett established herself as one of the most important female trailblazers in rock, both as a singer and guitarist, going on to receive a Grammy nomination for 1989 single ‘I Hate Myself For Loving You’ and earn the induction of herself and The Blackhearts into the Rock and Roll Hall of Fame in 2015.

Jett and the group have just completed a US tour with Iggy Pop, and were due to hit the UK this July supporting former-Van Halen frontman Sammy Hagar on his star-studded ‘Best Of All Worlds’ tour. Hagar recently announced that these shows would be down-sizing venues to foster a more intimate atmosphere, which sees Joan Jett and The Blackhearts now missing from the current billing.

The vacuum from the Sammy Hagar tour has been filled by Jett’s first headlining UK shows since 2010, and her first trip across the pond since 2011’s Isle of Wight Festival. The tour will visit Glasgow, Manchester, Leeds, and Wolverhampton before finishing at the brand-new British Airways ARC venue in London’s Olympia redevelopment project, which is due to open in June. Jett has said of the announcement “We can’t wait to be back on stage in the UK this Summer! I wrote and recorded Bad Reputation, my first solo LP in London. It’s been too long since we’ve been in the UK and we’re excited to see everyone!”

Tickets for Joan Jett and The Blackhearts solo dates go on sale at 10AM on Friday the 24th of April. Essex punk two-piece The Meffs are opening on all dates. Their UK shows conclude with one night supporting emo heroes My Chemical Romance on their Black Parade 20th anniversary tour, hitting Wembley Stadium on the 10th of July. Check the poster below for their headline run:

While the Gallagher brothers and Oasis had already broken through with debut ‘Definitely Maybe’ in 1994, which brought with it singles like ‘Supersonic’, ‘Shakermaker’ and ‘Live Forever’, their legendary status was sealed with follow-up ‘(What’s The Story) Morning Glory’. The album released at the height of their britpop rivalry with Blur, selling over 22 million copies since 1995, making it the best-selling British album of the 90s. It features the Manchester rock group’s biggest hits, including acoustic anthem ‘Wonderwall’, ‘Don’t Look Back In Anger’, and ‘Champagne Supernova’.

Following Noel’s departure in 2009 which led to Oasis’ split, he had a high-profile feud with brother Liam until they confirmed they had reunited in 2024 and announced tour dates the following year. Their 2025 world tour became a monumental event, shifting over 2 million tickets and taking in nearly £398 million, while boosting the profile of the band and their music higher than ever before. If ever there was a good time to sell a piece of the band’s history, it might be now.

Noel’s Epiphone EJ-200 acoustic guitar is signed by him, and was used in the famous 15-day writing and recording process of ‘(What’s The Story) Morning Glory’, coming with a certificate of authenticity to prove it. The story goes that Gallagher gave it to a member of their road crew, who then sold it onto the current owner who is putting it on auction. The owner, who has chosen to remain anonymous, is described by Sotheby’s New York pop culture specialist Craig Inciardi as “a huge Oasis fan. He was in the social circles of people who were around the band at the time.”

Noel Gallagher’s Epiphone EJ-200 guitar. (Photograph: Sotheby’s)

The guitar is listed in Sotheby’s Rock & Pop Sale, alongside Gallagher’s Rickenbacker 12-string guitar, which he used for over 10 years with Oasis, and a hand-written manuscript lyric sheet for Oasis’s hit ‘Don’t Look Back In Anger’, their first single to feature Noel on lead vocals. Other lots going on auction include a unique floor tom drum owned by The Who’s Keith Moon, a travel bible belonging to Elvis Presley, as well as Presley’s Hagstrom electric guitar, which is anticipated to sell for between $1 million and $2 million. Noel Gallagher’s last guitar to go on auction was his custom Silver Sparkle Les Paul, which sold for over £226,000 in 2024.

Sotheby New York’s Rock & Pop Sale opens for bidding tomorrow, the 9th of April and running until the 23rd, with Noel Gallagher’s Epiphone guitar expected to go for between $60,000 (£45,000) and $80,000 (£60,000). If you don’t have that kind of cash lying around but want to live through Oasis’ history all the same, the band are also releasing memorabilia for the 2025 live tour, including a feature-length documentary with no release date, and a photo book which is up for pre-order and will release this May.

“Were there any good moments?” Steve Jones pauses, reflecting on the Sex Pistols’ disastrous January 1978 U.S. tour. “No, there were none.” Cook then adds: “By the time we got to the U.S., we were already public enemy number one, we were thrown into the lion’s den, and it was a pretty dark time… It still gives me the horrors even now, to be honest.”

“The whole tour was chaos from start to finish,” Jones adds. The guitarist explained that their Manager Malcolm McLaren, had marketed the Pistols as punk’s ultimate villains: this has resulted in Americans seeing them as some sort of British devils. “Malcolm hyped us up as the worst of the worst,” Jones states, explaining their manager would allege that the band: “bite the heads off chickens. They throw up everywhere.’ All that nonsense…” Jones then confesses: “We were all sick of his crazy publicity stunts.”

Originally, the band—fronted by Johnny Rotten (John Lydon) and rounded out by bassist Sid Vicious—planned to play eight U.S. dates between late 1977 and early 1978. But nothing went smoothly. To start off, with criminal records ranging from drug charges to assaulting police officers, several band members were initially denied U.S. visas. They only secured last-minute entry when their label posted a $1 million bond, vouching for their “good behaviour”.  Jones would later write in his biography: “Betting on the Sex Pistols to behave was like betting on a three-legged chihuahua to win the Grand National.”

At every stop, the band faced dangerously aggressive crowds, many of whom had already decided they were there to fight. “The audience was throwing everything—bottles, rats, even pig’s ears—at the stage,” Cook states, then continues: “They’d read about us being British devils, coming to destroy their country, so they thought that was how they were meant to react… I genuinely thought someone was going to get killed.”

The tour ultimately culminated in their final show in San Francisco, where Rotten famously sneered, “Ever get the feeling you’ve been cheated?”. The band would break up shortly after, in January 1978, due to internal conflicts, Syd Vicious’s worsening drug problem as well as having difficulties performing in the UK due to laws and reforms.

Later this month, the Sex Pistols will return to the stage—albeit with a new lineup. Frank Carter will take over for Lydon on vocals, while original bassist Glen Matlock has rejoined. The band is set to play Japan’s Punkspring festival in Osaka and Tokyo, followed by an Australia and New Zealand tour in April.

Meanwhile, ‘Live In The USA 1978′ is slated for release on April 25 and is available for pre-order now.

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Formed in 1995 in Kilmarnock, Scotland, Biffy Clyro consists of Simon Neil on lead vocals and guitar, alongside twin brothers James Johnston on bass and Ben Johnston on drums. The trio initially gained attention with their debut album ‘Blackened Sky’ in 2002, which showcased their raw energy and unconventional songwriting. Their 2007 album ‘Puzzle’ marked a turning point, bringing them mainstream success with tracks like ‘Living Is a Problem Because Everything Dies’ and ‘Machines’. This success continued with ‘Only Revolutions’ in 2009, featuring hit singles such as ‘Mountains’, ‘Bubbles’, and ‘Many of Horror’, the latter of which gained further recognition when covered on The X Factor. Their 2013 album ‘Opposites’ debuted at number one in the official album charts, further cementing their status as one of Britain’s most influential rock bands.

They have maintained momentum with albums like ‘Ellipsis’ in 2016, ‘A Celebration of Endings’ in 2020, and ‘The Myth of the Happily Ever After’ in 2021, each demonstrating their ability to balance stadium-sized anthems with deeply personal and experimental songwriting. ‘The Myth of the Happily Ever After’ was written and recorded during the pandemic, serving as both a sequel and a response to ‘A Celebration of Endings’, capturing themes of resilience and reflection.

Over the years, Biffy Clyro has become known for their explosive live performances, headlining major festivals such as Reading & Leeds and Download. This year however, Biffy Clyro is set for a packed festival schedule, further solidifying their reputation as one of the UK’s most exciting rock acts. They are headlining Scotland’s TRNSMT Festival, a major highlight of the summer circuit, bringing their signature anthems to a home crowd. The band will also perform at Stars in Town, an intimate yet high-profile festival in Switzerland, as well as Rock For People, one of the Czech Republic’s biggest rock festivals. Their participation in these events underscores their continued dominance in the alternative rock scene and their ability to captivate audiences across Europe.

The addition of a second date at the Eden Sessions is a testament to their enduring popularity and the overwhelming demand for their performances. The Eden Project, with its breathtaking biomes and intimate concert setting, provides the perfect backdrop for a band as dynamic as Biffy Clyro. Fans attending the show can expect a high-energy setlist spanning their entire career, from early cult favourites to chart-topping hits.  

LATEST ADDITIONS@IamTomWalker @NathanEvanss & The @saintphnx Band, @brookecombe and so many more have just been added to the 2025 lineup!

Don’t miss out on securing your tickets with our limited earlybird pricing ~ https://t.co/P6LlXfyqEn@rockstarenergy pic.twitter.com/w5i70CU8Pb

— TRNSMT Festival (@TRNSMTfest) February 11, 2025

With their reputation for delivering unforgettable live experiences, these Eden Sessions performances are shaping up to be a highlight of the summer for rock fans across the UK.

The tour will include stops in York, Manchester, Dublin, Belfast, Glasgow, Leeds, Birmingham, Liverpool, London, and more across November and December. Tickets for the shows are set to go on general sale at 10 a.m. on Friday, February 7.

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Formed in Detroit in 1996, Electric Six gained international success in 2003 with their breakout hits ‘Danger! High Voltage’ and ‘Gay Bar’. The band’s lineup features charismatic lead vocalist Dick Valentine, whose distinctive style has been a driving force behind their enduring appeal.

Electric Six is celebrated for their genre-blurring sound, seamlessly blending disco, synth-pop, glam, and rock. Their music is defined by energetic rhythms, catchy melodies, and a flair for uniqueness. Over the years, they have released a prolific catalog of albums, each showcasing their versatility and creativity.

Their debut album, ‘Fire’, set the tone with its infectious energy and tongue-in-cheek lyrics. Other releases have explored diverse musical landscapes while maintaining the band’s signature sound. The album itself reached number 7 on the UK Albums Chart and also established Electric Six’s presence in the music industry showcasing their unique blend of humour and crazy musicality. With hit singles that became club and festival staples, ‘Fire’ cemented the band as one of the most distinctive acts of the early 2000s.

Beyond ‘Fire’, the band has maintained a steady outpour of music, with albums like ‘Señor Smoke’(2005), ‘Switzerland’ (2006), and ‘I Shall Exterminate Everything Around Me That Restricts Me from Being the Master’ (2007), each expanding their unique sound. They continued experimenting with albums like ‘Heartbeats and Brainwaves’ (2011) but more recent releases, including ‘Bride of the Devil’(2018) and ‘Turquoise’ (2023), show that Electric Six remains as creative and unpredictable as ever.

Looking ahead, Electric Six is set to release an expanded 21st-anniversary edition of ‘Fire’ on February 28, 2025. This special edition will feature remastered versions of classic tracks, giving fans a refreshed take on the songs that first propelled the band into the spotlight.

With their autumn 2025 tour on the horizon, anticipation is building among fans eager to experience their live unforgettable performances. With their high-energy and totally different brand of rock, this tour promises to be a highlight of the live music calendar.

Ticket information can be found here.

Queen’s original lineup consisted of Freddie Mercury, Brian May, Roger Taylor, and John Deacon and was formed in London in 1970. Renowned for their eclectic musical style, dramatic live shows, and innovative recordings, the band embraced a vast array of genres, including rock, pop, opera, heavy metal, and progressive rock.

With over 300 million records sold worldwide, Queen has earned global recognition and legendary status throughout their career, earning an induction to the Rock & Roll Hall of Fame in 2001, a decade after the tragic death of their iconic frontman, Freddie Mercury.

The unique artistry of each band member shines through on ‘A Night At The Opera’, showcasing Queen’s versatility and creativity. The centrepiece of the album, ‘Bohemian Rhapsody’, is a six-minute opus blending opera, rock, and ballandry, featuring complex vocal harmonies and an unforgettable guitar solo by Brian May.While this iconic track stands out, it sits alongside other equally innovative songs, including John Deacon’s heartfelt pop-rock anthem ‘You’re My Best Friend’, Mercury’s emotional ballad and live staple ‘Love of My Life’, and the progressive rock epic ‘The Prophet’s Song’ with its experimental vocal effects and dark themes.

The album’s thematic diversity reflects Queen’s ability to blend deep emotion with theatrical flair, incorporating a multitude of emotions including betrayal (‘Death on Two Legs’) and devoted love (‘You’re My Best Friend’ and ‘Love of My Life’). It delves into deeper topics like mortality (‘Bohemian Rhapsody’ and ‘The Prophet’s Song’) and complex human relationships (‘Sweet Lady’ and ‘Good Company’) while also offering lighthearted nostalgia (‘Seaside Rendezvous’ and ‘Lazing on a Sunday Afternoon’). Their masterful balance of these profound themes makes the album a layered exploration of human complexity.  

Produced by Roy Thomas Baker and Queen, ‘A Night At The Opera’ was rumoured to be the most expensive album ever made at the time, due to months of recording and experimentation. The band employed cutting-edge techniques like overdubbing and multi-track recording to create its intricate vocal arrangements and lush instrumental textures, all without the use of synthesisers – every effect was achieved through guitars and studio innovation. 

#QueenTheGreatest A Night At The Opera – Make or Break!
Considered by many to be their best album, Queen’s perilous financial situation at the time made this an incredibly risky leap of faith, creating a make or break moment for the band.
Watch Nowhttps://t.co/YuY0rMemuH pic.twitter.com/PZjamuqHOE

— Queen (@QueenWillRock) April 16, 2021

However, ‘A Night At The Opera’ quickly recouped its production costs as it soared to the top of the charts worldwide, reaching the Top Five in multiple countries including Australia, Canada, the UK, and the US. Its ambitious artistry and genre-defying sound continue to influence musicians across genres with ‘Bohemian Rhapsody’ still regarded as one of the most iconic songs in history. Nearly 50 years later, the album remains a cultural pillar and is often cited as one of the greatest records of all time, cementing Queen’s status as rock royalty.  

The anniversary of this historic achievement follows hints at new music from Roger Taylor and Brian May, marking the potential return of original material after nearly three decades. They concluded their ‘The Rhapsody’ Tour, a celebration of the band’s legacy that followed the success of biopic Bohemian Rhapsody, in Tokyo earlier this year. 

Don’t miss the music movie event of the YEAR! Watch #BohemianRhapsody again and again – now on Blu-ray and DVD. https://t.co/pVXQOwpTNS pic.twitter.com/qMg3YW6I8O — Bohemian Rhapsody (@BoRhapMovie) February 17, 2019

In an interview with Uncut magazine, Taylor expressed an openness to creating new songs, saying “We can still play. We can still sing. So I don’t see why not.”

In recent years, the band have released ‘Face it Alone’, a previously unheard track featuring Freddie Mercury’s world-renowned vocals from sessions for their 1989 album ‘The Miracle’, and a new mix of ‘The Night Comes Down’ as part of their debut album’s 50th anniversary. These releases demonstrate the band’s commitment to revisiting and revitalising their early work, and have sparked excitement about the possibility of new music in the future. While no official announcements have been made about a new album, Taylor’s comments suggest that new chapters in Queen’s musical legacy could be on the horizon. 

Queen’s lasting legacy, exemplified by groundbreaking albums like ‘A Night at the Opera’ and their ongoing exploration of new music, is as a testament to their unparalleled artistry. The day they topped the UK Charts in 1975 marked a defining moment in rock history, showcasing their ability to blend innovation and emotion into timeless music. As they continue to evolve, the prospect of new material from Queen’s surviving members reaffirms their position as one of the most influential and enduring forces in music.

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Radiohead are an English rock band created in 1985 in Abingdon, Oxfordshire. The members are Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O’Brien and Philip Selway. Since 1994, the band have worked with producer Nigel Goodrich and album cover artist Stanley Donwood. They signed to label EMI in 1991 and two years later released their debut album,  “Pablo Honey” in 1993. Their debut song “Creep” was a success worldwide and it only increased in 1995 with their next release, album “The Bends”.

After further well-received albums, they released their fourth album “Kid A” (2000), which marked a move into other genres including a blend of electronic, jazz, classical and krautrock – a German experimental rock genre translating to “cosmic music”. After six albums with EMI, the group began releasing self produced albums, controversially releasing their seventh album for download only, where fans would pay however much they wanted. There was no lead single though multiple songs from the album still got played on the radio. The album received barely any promotion yet it was still widely successful. Now they are members of the Rock and Roll Hall of Fame after being inducted in 2019.

Due to their success and contributions to the rock genre, it’s no surprise that their artworks are iconic too. Having worked with Stanley Donwood, the same album designer since 1994, the artworks will be available to see at the show.

In an interview whilst talking about “Kid A”, Donwood said, “So Thom rented a place in an old warehouse in Bath afterwards, and we got a load of massive canvases and a load of paint brought in. And I hadn’t painted since I was doing A-level art or something. Me and Thom were up all night making loads of covers for Kid A. But it wasn’t called Kid A. They all said “Radiohead” on them, but they all had different titles. I don’t know, 20, 30, 40 different covers with titles.”

The sheer amount of time put into one album cover shows just why the designs are still iconic to this day, warranting such an exhibit as the one to be shown next year. It’s no surprise that in 2001, Donwood won a Grammy Award for Best Recording Package for his limited edition cover of album “Amnesiac”.  

The museum exhibit will be on 8 August 2025 to 11 January 2026 at Ashmolean Museum in Oxford – more information can be found here. Tickets go on sale April 2025. 

Comprising Adam Devonshire, Joe Talbot, Mark Bowen, Lee Kiernan, and Jon Beavis, the indie-rock outfit expressed their gratitude to fans for propelling ‘TANGK’ to the summit. With 85 percent of its opening week sales in physical format, the album also secured the top position on the Official Vinyl Albums Chart and the Official Record Store Chart, emerging as the best-selling LP in UK independent record shops over the past seven days.

Reflecting on their achievement, the band conveyed heartfelt appreciation to their supporters, acknowledging their pivotal role in attaining the Number One spot. “Thank you very much to all of you that’ve supported us, bought our album and got us to Number 1. It’s a beautiful feeling,” the band relayed to Official Charts.

‘TANGK’ surpassed competitors such as Paloma Faith’s ‘The Glorification of Sadness’ and Crawler’s debut album ‘The Mess We Seem To Make’ to secure the top spot. This latest triumph adds to the band’s impressive chart history, with previous successes including ‘Joy As An Act Of Resistance’, ‘A Beautiful Thing: IDLES Live At Le Bataclan’, ‘Ultra Mono’, and ‘CRAWLER’.

Abigail Morris, Georgia Davies, Lizzie Mayland, Aurora Nishevci, and Emily Roberts, the driving forces behind the hit single ‘Nothing Matters,’ are adamant that their presence in the music industry should not be viewed as an anomaly but rather as part of a continuum of powerful female and non-binary artists.

Morris highlighted the irony of their situation, remarking, “The revealing thing is… people seem to be implying we’re doing something really new and groundbreaking just by being, you know, five non-male musicians when in fact, we come from a very long line and community of very powerful female and non-binary artists.”

“It’s just a shame that culture at large seems to be constantly blinkered to like, the fact that like, every few years, there’s a new study being like Breaking News! Misogyny in music! and it’s like yes, we know,” Morris added.

Georgia Davies echoed the sentiment, emphasising the need for structural changes in the music industry to facilitate the advancement of female and non-binary bands, stating, “In order for female and non-binary bands to progress up into that status, they need to be given the highest slots on festival lineups. To be given the chance to perform to a big crowd because without giving those slots to people who deserve it, we’re just going to keep seeing the same kind of legacy historically,”

In a subsequent part of the interview, the band was dubbed “the new queens of feminist pop” by the interviewer, prompting a discussion among the band members about the highly gendered language surrounding their success. They admitted it’s a “huge” burden to carry.

The Last Dinner Party, alongside fellow female musicians like Wet Leg and Clairo, has faced the recurring criticism of being dubbed “industry plants,” an accusation disproportionately directed at female musicians in contrast to their male counterparts within the music industry.

In a recent interview with Variety, Abigail Morris responded to the accusations by highlighting the organic connections the band had within the London music scene, explaining, “We all had friends who were in bands in that scene in London – I feel like that’s the only connections we had…. it is kind of old-fashioned, which is why I think people were like, ‘Something must be going on!’ No, that’s literally how the music industry works.”

The Last Dinner Party’s steadfast refusal to conform to industry stereotypes and their unwavering commitment to authenticity underscore the ongoing struggle for gender equality within the music industry. As they embark on their journey following the release of their debut album ‘Prelude To Ecstasy,’ The Last Dinner Party stands ready to amplify their message through an upcoming tour across the UK and Ireland later this year.