The album was recorded at Church Studios in Crouch End, London, with Mercury Prize-winning producer Marta Salogni and Grace Banks at the helm, alongside long-time collaborator Dan Carey, who has worked with the band on their previous two releases. Cowards also features contributions from an impressive array of musicians, including Danish experimental artist Clarissa Connelly, composer Tony Njoku, Pozi’s Rosa Brook, percussionist Zands Duggan, and the Ruisi Quartet, who contribute violin, viola, and cello to the album’s intricate arrangements.

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In support of Cowards, Squid will embark on an extensive UK tour beginning in February 2025, with the first date in Liverpool on February 17. The band will perform across the UK in cities including Manchester, Glasgow, Newcastle, and Sheffield, before concluding the run with a highly anticipated show at London’s Roundhouse on April 26. Tickets for the tour are available now here, and fans can expect a live set featuring new material alongside fan favourites from Bright Green Field and O Monolith.

 

 

 

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The album announcement follows a special one-off intimate show in New York City on November 12, where the band previewed several tracks from Cowards live for the first time. This included ‘Crispy Skin’, the album’s lead single, which has already been released in anticipation of the full album. Squid treated the packed crowd at DROM to a mix of new material, including the unreleased tracks Building 650 and Cro-Magnon Man, giving fans a glimpse into the darker, more experimental direction of Cowards.

Crispy Skin was released ahead of the album to introduce listeners to the dystopian themes that permeate Cowards. Lyrically inspired by Agustina Bazterrica’s novel Tender Is The Flesh, the track imagines a world where cannibalism is the societal norm. Lead singer Ollie Judge said to NME that ” the reality of having a moral-compass in dystopian stories of desperation and horror would be extremely difficult”. The single’s release was accompanied by a music video directed by Takashi Ito, which adapts his 1995 experimental short film Zone, distilling the unsettling tone of the song with stark, surreal imagery.

With Cowards, Squid continue the thematic exploration which has made their name, offering a more expansive and complex vision compared to their previous sound which incorporated crunchy krautrock guitar and David Byrne-inspired vocals. The record builds on the artistic risk-taking of O Monolith while venturing into new sonic territories, incorporating elements of avant-garde, jazz, and electronic music into their ever-evolving style. Pre-order here Cowards now, and catch Squid live across the UK early next year.

The festival orgainsers have released a statement saying: “New lineup additions include Mercury Prize winners Young Fathers, UK post-punk favourites Squid, beloved DJs Ben UFO and Helena Hauff, electronic pop legend Alice Glass, and Australian rockers C.O.F.F.I.N. to name a few, with yet more cutting-edge electronica and experimental pop artists still to be announced.”

“Expect leftfield Indie, Post Punk, Electronica, Techno and more across a line-up you won’t find anywhere in London. Our line-up has an equal gender split and 2023 saw us work further on our sustainable ‘Positive Policy’, which was set up to change the way live music events affect our planet. Environmentally conscious, socially aware and musical relevant, Wide Awake’s a party for people who care about music and more.”

Heavy hitters include, Young Fathers, an experimental Scottish hip hop who won a mercury prize award in 2014 for their album Dead. The group have gone on to make history by winning their third Scottish Album of the Year award with their latest album, Heavy, Heavy. They are the first artists to win the award three times. Furthermore, UK post punk band, Squid, from Brighton, have been announced for the lineup after they released their album, O Monolith, earlier in the year. The band released an audiobook to go alongside the album, written by Paul Ewan and narrated by Tim Key.

The other artists added to the lineup are Alice Glass, Charlotte Adigary & Bolis Pupil, Ben UFO, Crumb, Eartheater, Helena Hauff, The Babe Rainbow, Bodega, The Dare, David Holmes, Optimo, Al Lover, C.O.F.F.I.N, Decius, Etran Du L’air, Upchuck and Yhwh Nailgun.

A lot more artists should be announced for the day-festival in due course. Last years festival was headlined by Caroline Polacheck and hosted an eclectic batch of artists alongside the headliner, including Alex G, Black Country New Road, Viagra Boys, Jockstrap, Osees, Ty Segall, Joy Orbison and many more.

It is unknown when more artists will be announced for the festival, but more waves of announcements should be expected soon leading up closer to the date of the festival.

The day festival opens on May 25^th, 2024, and the current wave of tickets can be found here.

Lead singer and drummer of the group Ollie Judge said of the track’s meaning in a press release, “On the surface it’s a song about police brutality with the last section kind of inspired by The Tell Tale Heart by Edgar Allen Poe, although I’ve never read the book, I’ve just seen The Simpsons’ spoof of it”.

He went on to say, “Narratively it follows a police helicopter pilot’s day, ending with him in bed hearing another pilot circling the skies as if he were taunting him. There’s a deeper meaning in there somewhere of my fear of ego, but I’m still working out which bit of the song that’s coming from.”

The single premiered on the 25^th May alongside a music video starring English actress Charlotte Ritchie known for her roles in Fresh Meat, Dead Pixels, and You. Enduring mind-numbing boredom, Ritchie’s character arbitrarily awaits an entirety for an appointment in a drab grey waiting room and dreams of the lush British countryside. The video was directed by Norwegian director Kasper Häggstrøm who has previously worked with Radiohead and Kelly Lee Owens.

Squid announced their second LP would be released in the summer back in February writing on their Instagram, “Pleased to announce our second album O Monolith out 9th June. We worked really hard on this record. We recorded it in Wiltshire among lots of green space just as spring was setting in.” They continued, “It’s an album about fears, whatever may or may not be beyond the skies, death, rats and bedside cabinets. Thanks for your patience and we hope you enjoy it.” Pre-order the album here.

The band will head out on an Autumn UK and Europe tour later this year in support of their new album playing eight gigs around the UK. To celebrate the release of O Monolith, Squid will be performing and signing records in stores and at a few outdoor shows in the UK this June. Fans can also catch Squid at various festivals this summer including Rock Werchter, Standon Calling, Greenman, and RALLY. For tickets and more information see here.

Squid is comprised of lead singer and drummer Ollie Judge, guitarists Louis Borlase and Anton Pearson, bassist Laurie Nankivel, and keyboardist Arthur Leadbetter, and are currently based in Bristol. Their debut album Bright Green Field caused quite the buzz with its release 2021 receiving 5-star reviews from NME, Gigwise, and The Line of Best Fit.

See below for all Squid’s upcoming Europe and UK dates:

11/06/23 – Rough Trade – Bristol
14/06 – Brudnell Social Club – Leeds
15/06 – Rough Trade East – London
16/06 – Beyond the Pale Festival – Wicklow
29/06 – Rock Werchter – Rotselaar
20/07 – Standon Calling – Standon
05/08 – RALLY – London
17/08 – Green Man – Brecon Beacons
24/08 – Nox Orea – Vevey
05/09 – Kantine – Cologne
06/09 – Rockhal – Esch-sur-Alzette
07/09 – Ancienne Belgique – Brussels
08/09 – Tivoli Ronda – Utrecht
09/09 – Knust – Hamburg
11/09 – VoxHall – Århus
12/09 – VEGA – Copenhagen
13/09 – Festsaal Kreuzberg – Berlin
15/09 – UT Connewitz – Leipzig
16/09 – Mascotte – Zurich
19/09 – Santeria – Milan
21/09 – Apolo 2 –Barcelona
22/09 – Ram – Valencia
23/09 – Copérnico – Madrid
24/09 – Rock School Barbey –Bordeaux
25/09 – Élysée Montmartre – Paris
27/09 – 106 – Rouen
13/10 – SWX – Bristol
14/10 – SWX – Bristol
16/10 – Town Hall – Birmingham
17/10 – O2 Academy – Leeds
18/10 – New Century – Manchester
21/10 –  Barrowland Ballroom – Glasgow
22/10 – Boiler Shop – Newcastle
01/11 – Troxy – London

The tour will see Squid travel to North America for the fourth time following visits in November 2021, March 2022 and September 2022, and will commence in Austin, Texas on February 2nd 2024 and will conclude in Los Angeles, California on March 1st. The tour will be the first time Squid have the chance to showcase live performances of tracks from O Monolith for their American and Canadian fans.

North America we’re coming back. Tickets on sale Friday at 10am: https://t.co/OqnuoPfCSZ pic.twitter.com/uwiuTHqnXu

— Squid (@squidbanduk) April 18, 2023

The highly anticipated new album has already been performed live in the UK (see below) and will see a continuation of Squid’s experimentation with a multitude of differing rock genres. Speaking to NME, Ollie Judge, the group’s lead singer and drummer, states that the band have been “leaning a lot more into experimental song structures“, further adding that the album is “quite proggy – for better or worse“.

See O Monolith being performed live below:

Judging from their latest release, “Undergrowth“, “quite proggy” seems quite the understatement. An initial simple drumbeat and bassline is interrupted by a funky guitar section before Judge begins with his abstract lyrics, his vocals seemingly Hugh Cornwell-esque as we get into the chorus. The bassline returns along with the introduction of the brass and keyboards, and then returns the funk-rock of the guitars, and, slightly further on, a Black Midi-esque noise-rock section encapsulates us. All this and we are halfway through the six minute thirty five seconds song.

Watch the music video for “Undergrowth” below:

O Monolith will therefore be an expression of experimentation, blending together post-punk, art-rock, funk-rock and prog-rock to create an immaculate example of artistic brilliance.

Squid were formed in Brighton in 2016, releasing their first EP, Town Centre, in 2019 and their debut album, Bright Green Field, in 2021, the latter of which receiving widespread critical acclaim and reaching number four on the UK Albums Chart. The group consists of Ollie Judge on lead vocals and drums, Louis Borlase and Anton Pearson on both guitar and bass guitar, Arthur Leadbetter on keyboards and strings and Laurie Nankivell on brass.

Pre-order O Monolith now here.

See below for North American tour dates:

02/02/2024 – The Parish – Austin
03/02 – Dada – Dallas
05/02 – The Basement East – Nashville
06/02 – Terminal West – Atlanta
08/06 – 9.30 Club – Washington
09/02 – Union Transfer – Philadelphia
10/02 – Brooklyn Steel – Brooklyn
14/02 – Paradise Rock Club – Boston
15/02 – Sat – Montreal
16/02 – Phoenix Concert Theatre – Toronto
18/02 – Thalia Hall – Chicago
19/02 – Fine Line – Minneapolis
23/02 – Revolution Hall – Portland
24/02 – Rickshaw Theatre – Vancouver
25/02 – The Crocodile Showroom – Seattle
27/02 – Regency Ballroom – San Francisco
29/02 – The Observatory OC – Santa Ana
01/03 – The Belasco – Los Angeles

Buy tour tickets here.

While many online performance shows have gained a lot of traction in the last few years; everyone’s seen at least one episode of NPR’s Tiny Desk Series, COLORSxSTUDIO’s unique aesthetic took socials by storm, triple j’s Like a Version consistently goes viral with its genuinely great (Denzel Curry’s take on ‘Bulls on Parade’ sticks out to me) and wackier (it’d be rude not to mention The Wiggles cover of Elephant…) covers. But From the Basement strips back the gimmicks and charges straight in with the music. No audience, no time wasting… just get in there and show us what you’ve got. That’s what makes this show special; the music.

In a statement, Godrich commented on the return of the basement, “What a pleasure it has been doing this again!” adding, “I’m still just a fan, still super excited to have the opportunity to film all these great artists and have loved making these new shows. After being so busy doing other things I felt that the time was right to rekindle this idea… to somehow bring it into the present, but the same rules apply now as they did then… no audience or presenter… just a direct connection with the viewer and a chance for us to take some time to do something special in a controlled environment… the priority being to make it sound and look great….”

The series comes in association with Sonos Radio and We Transfer, while the streams will all be available online for free here, We Transfer will offer an additional song for each artist with a subscription to the site. Sonos Radio will also be broadcasting complete sets, both new and old, for the foreseeable future.

WeTransfer has partnered with @nigelgod‘s From The Basement and Sonos Radio to bring you six new performances from some of the world’s most extraordinary artists and bands. First episode premieres June 1. See you there. pic.twitter.com/WjS3tZhgaY

— WeTransfer (@WeTransfer) May 25, 2022

Musings on misery aside (and speaking of songs), one very positive thing that came from 2021 was a surge of fantastic and exciting music from all over the world. Our sister site, mxdwn.com, compiled a Top 50 albums of 2021 list with some excellent picks from this year’s massive roster. You can check that article out here.

Geographical scale be damned, the United Kingdom has always been a hub for fantastic music, decade after decade birthing innovating and head-turning new artists. 2021 has been no different, and as a result, we’ve compiled a top ten list of our own to celebrate (and perhaps introduce people to) some thrilling new British music.

10). Frank Carter & The Rattlesnakes- ‘Sticky’

Sticky is an album fuelled by that mosh-pit energy. Fast paced guitar riffs and heavy drumbeats really raise your excitement levels to a peak before it’s really even begun. Over lockdown, many of us likely dreamed about the day we could mosh and sing along to our favourite bands at huge gigs, a club, or even just at your local pub. Sticky truly represents that feeling. The opening track is all about that release of pressure that captures the fizzy, visceral thrill of pleasure-seeking. Then we get songs like “Bang Bang” and “Take It To The Brink” which you can really jump around to. Though it’s not all about releasing our pent-up energy we dive a bit deeper with tracks like “Rat Race” which attacks the callous opportunism of political figures who used the pandemic to increase their wealth. One of the best songs on the album is definitely the collaboration with Idles “My Town”, focusing on issues such as urban decay and men who can’t discuss their feelings. This is a fearless album and an absolutely banging indictment of the last two years that will resonate beyond his usual audience.

-John Weightman

9). Cleo Sol- ‘Mother’

Cleo Sol’s Mother is an hour-long story of welcoming a child into the world. The voice behind the mystifying mercury awards nominated soul group Sault, Cleo Sol is known for her soft and soulful voice. Throughout her album Mother the singer showcased her talent not only through her voice but with her immense songwriting and beat selection. While her album is presented as a letter to her newborn child, the emotion and feelings amplified throughout the project sit with listeners no matter their circumstance.  The singer’s colossal project was well-received critically, with Cleo receiving three nominations at the 2021 Mobo Awards having been nominated for Best Female Artist of the year, Best RnB/Soul Act and Album of the Year. Despite not attending the awards show in Coventry, the eclectic singer took home the award for Best RnB/Soul acts, an award that cemented her as one of the best the UK has to offer.

-Noah Fashesin

8). PinkPantheress- ‘To Hell With It’

20-year-old singer, songwriter and producer PinkPantheress is just one of many British artists who broke out in 2021 with a hugely successful album.  The Bath born artist initially found fame within the popular app TikTok; whilst studying the singer shared various tracks onto the platform. The tracks went viral and consequently the singer was signed to the major record labels Parlophone and Elektra Records. To Hell With It was released on 15th October 2021, the release was PinkPantheress’ debut mixtape and was received with great critical acclaim. The album serves as a homage to 2000s’ music with heavy sampling and smooth lines encompassing the album’s material. With a sample from the classic garage track “Flowers” by Sweet Female Attitude, the release’s opening track “Pain” transports the listener to the heyday of the genre. The track was released as the album’s second single and sired great success within the UK charts. PinkPantheress’ tribute to influential genres can also be heard in “I Must Apologize”, the track utilises a sample of “Gypsy Woman” by Crystal Waters to create an effortless house track. Throughout the album listeners can hear further influences from various genres including nu-metal, as heard in “Last Valentines” which incorporates a sample from “Forgotten” by Linkin Park.

-Sophia-Elizabeth Tuck

7). Floating Points, Pharoah Sanders & The London Symphony Orchestra- ‘Promises’

Every year seems to bring with it one wild card combination that no one necessarily asks for, or maybe even considered. 2021, a year that never seemed to do anything in half measures anyway, delivered to us one of the best curveballs in a good while; Manchester’s own IDM maestro Floating Points takes us on an ambient journey with backing from The London Symphony Orchestra to give us a new Modern Classical gem. But… the addition of John Coltrane alum Pharoah Sanders takes us from a progressive piece of electronic joy, to a minimalist chamber jazz movement that is absolutely greater than the sum of its parts. The 3 collaborators elevate each other in such a way that it absolutely worth investing 45 minutes of your time, and a bit of cash for a decent pair of headphones, to fully absorb the interstellar encounter. My first experience with a new oxymoronic genre, grand-minimalism. 

-George Carter

6). Little Simz- ‘Sometimes I Might Be Introvert’

It is through no luck or coincidence that SIMBI has been featured on almost every end of year list you can care to name. Any assumption that she peaked with GREY Area was put out within seconds of her 2021 release, with Simz somehow coming back stronger after an imponderably strong 2019 release. Laid over a dizzying myriad of styles, Simz impresses with a mature flow, laden with story-telling sensibilities and quotable, declarative statements on life, love, and the pursuit of happiness. Refusing to be pigeon-holed into one style or another, she shifts energies like outfits, from the gritty heaviness of “Speed” and “Rollin Stone”, to the blissful serenity of “I See You” and “Woman”, and again to the soulful, Afrobeat influenced ‘Point and Kill’ and “Fear No Man” toward the end, spitting over Afrika 70-esque beats that would entice a murmur from the late, great Tony Allen. There surely is something for everyone on this record, making it difficult to identify a leading single, a stand-out track, or even a track which typifies the album. With SIMBI, pieces form the whole, making it necessary to listen to the album, cover to cover, just like the old days. 

-Charlie Walker

5). black midi- ‘Cavalcade’

Following on from their explosive art rock/noise-rock/post-punk/post-everything debut Schlagenheim, London’s black midi ventured into slightly more prog-rock oriented territory with their second record, whilst also managing to avoid shedding their quirks and eccentricities that made them so terribly exciting in the first place. The riffing is still unpredictable, jagged and dissonant in many places, especially with the addition of saxophonist Kaidi Akinnibi and pianist/keyboardist Seth Evans, who add a whole new dimension to the group’s sound. Like a book penned by a master storyteller, the record gives the listener something unexpected and fresh with each song; from the screaming John Zorn-esque saxophone that meanders through “Slow” to the earworm bass guitar riff that grumbles beneath Geordie Greep’s accentuated, theatrical vocal delivery on “Dethroned”. Amidst a slew of creative experimental rockers coming out of the UK, black midi have proved once again that they are up there with the best of them.

-Julian Harding

4). Squid- ‘Bright Green Field’

Another crucial band in the UK’s roster of groups who undoubtedly have had every “post” label under the sun applied to their idiosyncratic and experimental sound would be Squid, hailing from Brighton. To put Squid into one box would be a pointless exercise, as with this ambitious debut full-length record the band has shown masterful control of blending their influences, in such a way that each track is a surprising and sometimes dizzying rollercoaster ride through a myriad of different genres. Drummer and vocalist Ollie Judge’s dynamic delivery of tales of dystopia in “G.S.K.” and musings on death by reckless driving in “Boy Racers” are captivating and reflect each and every lyric, whether he is howling in frustration or mumbling underneath an atmospheric drone. The guitars on the album are often defined by a glassy clean tone, spitting out math-rock inspired riffs with more than a hint of jazz influence at times, while an array of other instruments drop in and out to add to the experimental chaos. This stunning debut displays a clear and carefully crafted development from Squid’s pure post-punk beginnings, making the group one to watch for any experimental rock fan.

-Julian Harding

3). James Blake- ‘Friends That Break Your Heart’

James Blake’s Friends That Break Your Heart has to be on this list for a number of reasons, too many to count here. Suffice to say, everything just works perfectly. Opening up for a much more pop-style than he’d allowed himself in recent years, the album’s production is filled with this low-key intensity that makes the most out of every tiny detail, every sound allowed to shimmer and shine through the murk. With brilliant songwriting that combines his talent for memorable tunes and rich, emotionally nuanced harmony, the album doesn’t need to rely on production alone to have an impact. And then there’s that voice. That moment in “Say What You Will“ when he holds the highest note, yet remains tender and restrained, with the backing vocals continuing to circle around beneath him. If that’s not among the most beautiful moments in pop today, then I don’t know what is.

-Calum Moran

2). Sam Fender- ‘Seventeen Going Under’

Seventeen Going Under is one the most real and relatable albums released this year. While the primary musical influence of Springsteen is still clearly remains, Fender tells his own stories and creates his own motifs rather than borrowing common themes used by the Boss. Though there are still elements of this Fender executes it with his own now more developed and unique style. The opening title track incorporates a folk-inflected guitar motif and stripped-down drum beat that underpins Fender’s precise and evocative lyrics looking back on his teenage years. He returns to the subject of toxic masculinity previously explored on his debut album, the singer traces the links between violence and unresolved anger, while also reflecting truthfully and angrily on the brutal impact of a Department of Work and Pensions decision on his family. Fender’s ability to lay bare the conflicts and issues of masculinity in the 21st century is an almost unflinching approach to an often-taboo subject area. He has really developed his own lyrical style, shedding some of the more obvious Springsteen narrative motifs in the process.

-John Weightman

1). Black Country, New Road- ‘For The First Time’

Post-punk, post-Brexit new wave, experimental-rock, call it whatever you will. But no other group sums up the creative intelligence, anti-establishment attitude, or conspicuous self-awareness of the movement better than “Black Country, New Road” and their stunning debut For the First Time. This is a record that feels exciting, and despite coming out only three years after their arrival on the scene, it sounds sharp. Sharp like a band that have been honing their sounds for years. Because of this it’s hard to tell if the group will ever sound like this again. Isaac Wood’s droll wit is anxious to the core, and when paired with the obtuse, angular foundations from the rest of the band; it just sounds like lightning in a bottle. This is undeniably some of the most exciting music you’ll hear all year, it feels encompassing and unlimited in its creative direction. The fact this is their debut still shocks me. 

-George Carter

The dates come alongside a rather sporadic series of dates around Ireland and Europe. See a full list of tour dates here. Since the release of their debut, back in one of the UK’s stricter lockdowns, the band have seen themselves touring pretty much non-stop. A series of reasonably intimate ‘socially distanced’ shows cropped up as soon as we were all allowed to go outside again, since then some slightly more traditional shows; including a night at London’s Printworks last month has set them up for a very happy fanbase.

To add to the excitement, the band shared a short vignette on their Twitter page summing up their time on tour so far.

Tickets for our USA/CAN tour in March are on sale from 10am today: https://t.co/HjUYI7ER4b

Thanks to everyone who came to the shows during our first USA tour this Nov & to all the amazing artists who supported us at the gigs – here’s a short video from our time on the road. pic.twitter.com/3htZBrX2IK

— Squid (@squidbanduk) December 10, 2021

Before the band embark on their 2^nd American tour, they’ll stop off for 4 dates in Ireland, hitting Dublin, Belfast, Galway, and Cork next January. Followed by appearances all over Europe during its summer festival circuit, including Spain’s ‘Primavera Sound’, Poland’s ‘Off Festival’, Portugal’s ‘Paredes de Coura’, and a spot alongside Ghetts, Black Midi, and Mercury Prize winner Arlo Parks at this year’s ‘Summer Series’ at Somerset House in London.

Bright Green Fields has caused quite the stir amongst fans and critics during its year in the open, featuring on several end of year ‘best album’ lists including top 10 placements from Rough Trade (UK), The Skinny, and Crack Magazine. Even nabbing 2^nd spot on Bleep’s list, only being nipped out by Koreless’ output this year, Agor.

Bleep has also announced a new, limited-edition glow in the dark vinyl reissue of the album. The pressing comes with a newly designed cover and an alternative gatefold sleeve. The deluxe edition also came with a Bleep exclusive slipmat. Unfortunately, the release of the slipmat was limited to only 200, and this was back in November. So, any Squid memorabilia completionists will have to scour eBay for anything they can get their hands on.

See below the video for “Narrator”, featuring Marth Skye Murphy. The song landed in the top 30 of Exclaim!’s songs of the year and, if you ask me, is an absolute essential for any post-punk fan.

Squid’s tour manager Ina Tatarko explained to the publication how the frighteningly high costs of attaining visas for the group to play in Spain has meant that they have had to pull out of impending Spanish shows later this month. She stated: “With the current visa requirements for Spain, which are basically saying that you have to pay for a work visa for £409 per person, we weren’t able to play these smaller shows because it wouldn’t have been financially feasible.”

Spanish music festival Primavera Sound were promoting Black Country New Road and Squid’s upcoming shows, and on September 23^rd, stated: “In a very delicate climate due to the COVID crisis, with promoters who have been unable to programme for the last two years and bands unable to tour internationally for the same amount of time, these costs could be the final blow for an industry on which technical teams, venues and festivals depend, as well as of course the artists from one of the countries with a huge presence on our stages.”

The reality of Brexit-especially for the UK music industry- is a very unfortunate one, particularly in regard to touring groups. As the advent of Brexit crept up in 2020, many UK groups and artists began voicing their concerns about the impact Brexit would have on touring. One issue that rose above the rest was the worrying thought of additional expenses, paperwork and the time that would go into acquiring Visas, and the challenge of shipping equipment and merchandise over to mainland Europe. Whilst around 19 EU countries have reached an agreement with the UK to supply free 90 day work visas, it seems that this issue is sadly rearing its head as the easing of COVID restrictions ushers live music back into daily life.

Over 100,000 people have signed a Change.org petition entitled “Let Touring Musicians Travel: Support Musicians Working in the EU Post-Brexit”, which calls upon the UK government and Parliament to back the idea of a Musicians’ Passport, which would ideally last a minimum of two years, be inexpensive to acquire, cover all states that are members of the EU, ensures that there is no need for additional permits, and covers road crew, technicians and other staff necessary for touring musicians. Mark Davyd, The CEO of the UK Music Venue Trust, told NME last year that Brexit’s impact on touring would only be manageable for artists who were already worldwide successes, stating; “This is basically a tax on new and emerging musicians. It’s not a tax that will have any impact on your James Blunts and Roger Daltreys. Someone will sit in an office and fill in all of their paperwork.”

Squid are one of the kingmakers in the post-punk-revival scene, their sound and fanbase was nurtured in the legendary Windmill / Wunderground scene in Brixton, along with Black Midi and Black Country, New Road. They’re hot off the back of two superb new singles ‘Narrator’ and ‘Paddling’, with debut LP ‘Bright Green Field’ due out on May 7th.

Since recording the album last summer we’ve been keeping busy working on new music together. To road test some of this new ‘work-in-progress’ material, we’ve decided to do a small, socially distanced tour in venues we’re not usually able to play at. https://t.co/UJuOJns5iA pic.twitter.com/tG5LP2CRM6

— Squid (@squidbanduk) April 20, 2021

Squid aren’t the sort of guys to rest on their laurels- they’ve announced this tour to showcase new and ‘work in progress’ material, having spent the third period of lockdown writing. Squid really embody the post-punk scene perfectly, their chaotic noise-rock incorporates elements of post-rock, math-rock and traditional punk.

They have worked closely with Speedy Wunderground’s Dan Carey on the new record: his fingerprints are apparent throughout Squid’s impressive back-catalouge, jagged guitars, driving rhythm and vocals that mix spoken word, beautiful harmonies and lung-busting shouts. Based on the strength of the two lead singles (not to mention 2019’s EP, ‘Town Centre’), Squid’s debut LP is bound to turn some heads.

If you’ve had the foresight to pre-order the LP, you will be due to receive a presale ticket link in the next 48 hours, whilst the masses will have to wait until Friday 30th. The tour takes Squid up and down the country, as well as a flying visit to Wiltshire hometown, Chippenham. These shows are bound to sell out fast, so a number of the venues have two shows on one day.

Squid’s debut LP is expected to be an exciting release, they are one to watch for sure.

The British Music Embassy typically takes over a venue every year at SXSW in Austin, Texas, putting a spotlight on the best new music from around the UK. As the festival is virtual this year due to the ongoing global health crisis, the British Music Embassy has recorded live performances which can be watched on the SXSW portal. A selection of performances will also be made available after Easter for all to view on SXSW’s YouTube channel.

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A post shared by The British Music Embassy (@thebritishmusicembassy)

The full British Music Embassy line-up for SXSW Online 2021 includes 404 Guild, Afronaut Zu,  Anna B Savage, Baby Queen, Beauty Sleep, Black Country, New Road, Chubby and The Gang, Connie Constance, Do Nothing, Drug Store Romeos, Ego Ella May, Enola Gay, Finn Askew, The Goa Express, IDER, Katy J Pearson, Lau.ra, Lilla Vargen, Matilda Mann, The Mysterines, Nayana IZ, Olivia Dean, Onipa, Penelope Isles, Phoebe Green, Porij, PVA, Ryan McMullan, Sinead O’Brien, Squid, Tayo Sound, TV Priest, Virginia Wing, Walt Disco and Yard Act.

Speaking about the event in a press release, Paul Pacifico, Chief Executive Officer at AIM said; “We’re delighted to be returning as a British Music Embassy partner for SXSW 2021. It has always been a key stepping stone for the careers of independent artists, and a valuable way to accelerate their journeys on the international stage. Although we can’t attend in person this year, the positioning of British Music within the virtual showcase platform is the next best thing and a crucial moment to showcase exciting British talent to the world.”

Northern Irish singer-songwriter Lilla Vargen shared her excitement about being on the virtual line-up saying; “The past year has been devastating for live music, and SXSW being able to go ahead in some form is a light at the end of the tunnel, and hopefully can signal the return of more opportunities like this. I can’t wait to head to Austin when it is safe to do so.”

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The British Music Embassy is brought to you this year by AIM, BBC, BPI, the Department for International Trade, PPL, PRS for Music, and PRS Foundation, with further support from ATC, media partner DIY Magazine and Belfast City Council. Since 2008 it has hosted over 450 UK artists, positioning them in front of a global audience in order to help them to break into new markets and advance their careers. The British Music Embassy also uses UK-only production and equipment, giving artists from the UK an unparalleled platform on the world music stage.

Check out the SXSW showcase at The British Music Embassy through the SXSW portal or on SXSW’s YouTube channel.