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Each artist will donate a track to the project which will pressed just 100 times each, creating 700 unique 7” records. Additionally, artists, designers and illustrators from around the globe will be called to design special sleeves for each track, making every record and one-of-a-kind collectible. The 700 unique sleeve designs will be on display at London’s 180 Studios from August 18-30, 2026 and available to purchase via online auction running until September 2, 2026.

Buyers may make guesses based on the sleeve artwork as to which vinyl they will receive, but the track remains a mystery until it is purchased.

All of the proceeds from the auction will go towards War Child’s work delivering mental health support, emergency aid and protection to children and families in areas of conflict across 13 countries. Previously, the Secret 7” Auction has raised more than £900,000 for War Child’s efforts.

John Lennon will be donating his track ‘Out of the Blue’ from the 1973 ‘Mind Games’ album. While The Last Dinner Party will contribute their single, ‘Let’s Do It Again!’ which was featured on the recently released ‘Help (2)’ compilation album from War Child. Gabrielle has given her 2001 hit, ‘Out of Reach.’ And fans of The Maccabees will be excited to hear their 2009 track, ‘No Kind Words’ will be apart of the auction. It will be the song’s first standalone physical release. In a post announcing their contribution, the band encouraged fans to submit artwork for the auction saying their “work will be a missing part of [their] catalogue.”

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Also on the line up is ‘Purple’ from Skin’s 2006 album ‘Fake Chemical State.’ Glass Animals will be giving ‘Take a Slice’ to the project, from their 2016 album ‘How to Be a Human Being’ and still, one of the band’s most-streamed songs. And Bastille will contribute ‘Hope For The Future’ a track originally penned for a climate emergency documentary about wildfires which ravaged Portugal in 2017, From the Devil’s Breath.

Artwork submissions for the sleeves are open now on the Secret 7” website. Parameters for submissions are wide, artists are encouraged to submit whatever they like, so long as it is a piece inspired by their interpretation of one of the seven songs on the project. Submissions will close 1 June 2026 at 11:59 PM GMT.

Charlotte Nimmo, War Child’s fundraising and engagement director described the urgency of the 2026 Auction, “right now over 520 million children have had their lives impacted by conflict worldwide. The need has never been so great and it is increasing daily.” She continued, saying she hopes the 10^th Secret 7” project will “offer music and art fans something truly unique to take home that brings them joy when they see and listen, and know that they helped have a tangible impact on children’s lives in the process.”

Listen to all seven tracks included in the project here.

From February 12 to 27 this year, a series of special gigs took place in some of the best music venues across the UK. Buildhollywood contributed outdoor advertising and DHL returned as a War Child’s partner for the event.

Headliners included huge names such as Olivia Dean, Fatboy Slim, Robbie Williams, kwn and Jacob Alon. See more details about the line up in the post below.

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Head of live music at War Child UK, Clare Sanders-Wright, called the £1.16 million raised “phenomenal” and that “by all measures, this year was our biggest yet since the inception of BRITs Week.” She said the money would go toward “[supporting] thousands of children impacted by the travesties of war across the globe.” She went on to say, “this year wouldn’t have been possible without the incredible artists and their teams that have been so generous, as well as the teams at BPI, AEG, DHL, and of course my incredible colleagues at War Child.” Finally she thanked “the amazing music fans who came to the shows, bought merch, donated, and entered our prize draws” saying, “we couldn’t do this without you!”

The BRITs left London for the first time this year, taking the UK’s biggest night in music to the Capital of the North. And likewise, BRITs Week for War Child expanded to Nottingham, Brighton, London, Edinburgh and the ceremony’s host city, Manchester. This gave fans across the country unique opportunities to see their favorite artists at intimate, one-off gigs ahead of the award ceremony on 28 February.

Maggie Crowe OBE, BPI director of events & charities said on the local impact of the event: “With the BRIT Awards and four of the BRITs Week shows being held in Manchester, the city and surrounding regions came alive. The artists and their teams who donate their time and commitment to support is testament to the power of music.” She also highlighted key players in the concert series’ success saying, “BRITs Week 26 smashed all fundraising records under the amazing leadership of War Child’s Clare Sanders-Wright. Elliott Santon of DHL along with his team and the War Child and AEG Presents posse, delivered this year’s series of gigs with the world looking on.”

War Child’s official site explained the urgency of the need for support from events like these: “Right now, it’s the deadliest time in history to be a child. 1 in 5 children globally (over 520 million) are currently affected by war. But there is hope. With support from music fans, War Child can help children put the pieces back together. By joining the charity for the intimate, one-off performances of some of their favourite artists, fans will be directly contributing to help War Child rebuild children’s lives.”

Listen to Amazon Music’s BRIT Awards 2026 official playlist, including some of the artists who contributed to War Child’s efforts:

The track is in many ways reminiscent of their new wave work in 1980s Sheffield, and a far cry from the glitzy pop of their ‘90s output. Layers of synth work and vocal effects combine alongside a jangly guitar riff and singer Jarvis Cocker’s usually cynical and political lyrics. In the chorus, Cocker is joined by several other artists working on the album in a spelt out rendition of ‘B-E-G-G-I-N-G’. These include Blur’s Damon Alburn, Kae Tempest and Irish indie sensations Fontaines D.C. ‘s Grian Chatten among others.

Since the track’s release, Cocker has confirmed that the track was initially intended for last year’s Pulp release, ‘More’. “Sometimes a song needs a purpose”, the frontman said. “Like all the other 22 songs on the ‘Help’ album, ‘Begging For Change’ is designed to raise money to help children living in war zones around the world. This only works if you buy/download/stream it.” This is not Pulp’s first dalliance with War Child, having donated £25,000 in prize money to them in 1996 when picking up the Mercury Prize. This time, Cocker said, “we have given more. How much more? You’ll have to wait and see.”

This is War Child’s sixth charity album over the last twenty-one years. Each has featured contemporary leading artists performing either originals or covers. The first, ‘The Help Album’, released in 1995, featured Oasis, Blur and Terrorvision among many others. Since then, War Child’s albums have included tracks from The Prodigy, Muse, George Michael and Radiohead. This album will include contributions from Sheffield altrockers Arctic Monkeys, solo artist King Krule, British indie rock duo Wet Leg and American pop singer Olivia Rodrigo. Arctic Monkeys released the album’s first single, ‘Opening Night’, released on 22 January. In releasing the track, Arctic Monkeys said that “when [producer] James Ford called and asked if we’d contribute to the HELP(2) album we set out to work on a song idea and assembled in Abbey Road to record it. We are proud to support the invaluable work War Child does, and hope the record will make a positive difference to the lives of children affected by war.”

An accompanying film will come with the album, the work of documentarian Jonathan Glazer, which will be a combination of studio and war footage from Gaza, Sudan, Yemen and Ukraine. War Child’s focus is on the children impacted in conflict zones. Producer James Ford has previously worked with many of the artists also on the album, and will be released on 6 March. 

Recorded over a week in November 2025 at Abbey Road Studios in London, ‘HELP(2)’ was produced by acclaimed musician and producer James Ford, whose vision helped collate an eclectic group of artists across genres and generations. Every contributor donated their time without fee, in alignment with the cause at the heart of the project: raising funds and awareness for War Child’s work supporting children in conflict zones such as Ukraine, Gaza, Yemen, and Sudan.

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The album opens with Arctic Monkeys’ “Opening Night”, a new track marking the band’s first release since their 2022 album ‘The Car’. Written by frontman Alex Turner and produced by Ford, the song sets a poignant tone for the compilation.

From there, ‘HELP(2)’ hosts some of the music industry’s biggest names. Contributors include iconic and contemporary talents such as Damon Albarn (with Grian Chatten and Kae Tempest), Depeche Mode, Olivia Rodrigo, Pulp, Beck, Sampha, Foals, Wet Leg, Beth Gibbons, and Fontaines D.C. Among the collaborations are some interesting pairings and reinterpretations that reflect the diversity of the project’s artistry: from Arooj Aftab’s ethereal contributions to a collaborative performance between Ezra Collective & Greentea Peng.

In all, the album contains 23 tracks, each to support War Child’s mission and inspire its listeners to engage with the realities facing millions of children in war zones today. The compilation is as much of a call to action as it is a body of music; War Child once again using their influence in the arts for good.

The project also reflects on its roots. The original ‘Help’ album – recorded in just one day in 1995 and featuring artists like Radiohead, Oasis, and Blur – raised more than £1.2 million for War Child, providing critical assistance to children affected by the Bosnian conflict. ‘HELP(2)’ honours that legacy while acknowledging that the scale of need has only grown. Today, around one in five children worldwide live in areas affected by armed conflict.

‘HELP(2)’ is available for pre-order on vinyl, CD, and digital formats now, The record stands as a testament to the enduring power of music to bring people together and make a tangible difference in matters of much more importance than the creative industries.

International charity War Child have today revealed a new star-studded music project, a follow-up to 1995’s ‘HELP’, unveiled alongside Arctic Monkeys’ first single in four years. The song ‘Opening Night’, will be in the company of tracks from a broad spectrum of British indie, pop and rock music.

War Child were founded in 1993 to support children dealing with the tragic effects of war, and in 1995 they gathered the day’s biggest musical acts to create the first ‘HELP’ album. The project was supported by British stars like Paul McCartney, Blur, Radiohead and Oasis, raising over £1.25 million for War Child’s relief efforts.

As well as further charity album releases, the music wing of War Child has raised awareness through concerts. Aimed at catching some of the spotlight on British music cast by the BRIT Awards, the shows generate attention for more serious matters and raise significant funds. It was through one of these shows that they first began a partnership with Arctic Monkeys. Their 2018 show at the Royal Albert Hall was a roaring success, and between takings on the night and sales of the recording’s release, it raised over £250,000 for War Child.

Arctic Monkeys, formed in Sheffield in 2002, have been one of the most important bands in the UK’s indie rock scene since the beginning of the millennium. However, following the release of 2022 album ‘The Car’, and a headlining slot at 2023’s Glastonbury festival, they have made no announcements nor released any music.

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Suspense has been building up for their return since the mysterious creation of the “War Child Records” social media account at the start of January. There were clear signs that both Arctic Monkeys, and their producer James Ford would be involved in the then-unconfirmed project. Earlier this week, the account declared that the first single from the project would indeed be by Arctic Monkeys, and it would premiere at 3PM today, Thursday the 22nd of January.

So now, the new single has debuted and it was well worth the wait. ‘Opening Night’ is a sombre, lonely desert-rock tune, reminiscent of bluesy hits by US band Eagles. The lyrics are very deep, with serious weight put towards the theme of the album and War Child project, and the haunting, fuzzy twangs of the guitars echo eerily throughout the piece.

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The full album ‘HELP(2)’ boasts a who’s-who of the UK music scene, with long-term legends like Damon Albarn of Blur and Gorillaz, Blur bandmate Graham Coxon, Johnny Marr, Depeche Mode, and Pulp, alongside current stars such as Beabadoobee and Foals. The project also drew in international talent including Beck, Geese frontman Cameron Winter, and Olivia Rodrigo. James Ford, who also produces for several of the other acts involved, served as Executive Producer for the full album, which was recorded in conjunction with Abbey Road Studios.

‘HELP(2)’ releases in physical and digital formats on the 6th of March, with all proceeds going towards War Child’s continued efforts to protect children from the fallout of conflict. The full list of artists and tracks can be found on the album pre-order site here, and you can pre-save ‘HELP(2)’ on streaming platforms here.

It’s been 30 years since international charity War Child first released their historic fundraising album ‘Help’. Now, due to a cryptic new social media account, suspense is mounting for an exciting new iteration which may or may not be under development.

War Child, who were founded to aid children suffering the after-effects of global conflicts, originated in 1993, when filmmakers David Wilson and Bill Leeson, alongside social entrepreneur Willemijn Verloop, travelled to what was then Yugoslavia during the civil war. Their website draws parallels to the current conflict in Ukraine, where Russia’s invasion has destroyed the lives of so many children and families.

In 1995, they united many of the biggest artists of the time to record ‘The HELP Album’. The record features performances by Paul McCartney, Oasis, Blur, Radiohead, and Paul Weller, as well as collaborative tracks involving several of the aforementioned stars. The album raised £1.25 million for the charity, and left a strong legacy, leading to sequel ‘Help! A Day In The Life’ to be released 10 years later in 2005. This time they brought through new talent, with the likes of Coldplay, Elbow, and Bloc Party joining up, while Blur’s Damon Albarn returned with then-new project Gorillaz.

Aside from other charity albums, War Child have also worked with artists to set up concerts to raise money and spread awareness. These shows were often timed to coincide with the BRIT Awards, where the spotlight would be most firmly on British music. Famous collaborators include Ed Sheeran, Muse, and Florence + The Machine. By far the biggest and most successful event was Arctic Monkeys’ 2018 show at the Royal Albert Hall. This night generated at least £250,000 for the charity, with the recording being released in 2020 also donating all proceeds to War Child.

Earlier this week, a mysterious new Instagram page, named “War Child Records” was created, posting one singular item – an announcement that “There is a group of artists who are working on something important in support of War Child.”

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Digging deeper, the account follows only 12 other profiles, most notably The Last Dinner Party, Fontaines D.C., Pulp, Beck, Damon Albarn, and Arctic Monkeys. Typically social media following can be used to infer some interesting things, for example here it suggests that these artists will be involved in this new project, with several of them being past alumni of other War Child projects. Also in the list is producer James Ford, who  shared the post on his account, providing more evidence that he will be involved in the mix.

The band drawing particular attention from this development is Arctic Monkeys, who haven’t released new music since LP ‘The Car’ in 2022, and have mostly been flying under the radar since their Friday headline set at 2023’s Glastonbury Festival. With a fanbase desperate for any new material, their social media following have gone wild with anticipation since drummer Matt Helders shared the War Child Records post, a likely indicator of their involvement.

With the rumour mill churning away, War Child Records have shared a link on their page which when clicked, displays a message starting with “JANUARY 2026”, and a button to sign up to a newsletter for further announcements. Whether this will be a full LP, a relief concert or something else remains to be seen, but we may get an announcement before the end of the month.

The post-punk duo will kick off their return early next year at the legendary venue Barrowland Ballroom in Glasgow on February 6. They will then spend the next month heading to the likes of Manchester, Cardiff and Belfast before concluding at the 02 Academy Brixton in London on March 7.

Keep reading for full dates and details for the upcoming tour, with tickets going on sale this Friday (September 26) at 10am. Head here to purchase yours.

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Frontman, Jason Williamson, revealed why now is the time for the duo from Nottingham to return, stating: “We took a year off ‘cause I needed to get my nails did, and now we’re itching to get back out there and play live. We released a new single, ‘Megatron’, last week, it’s an absolute banger so we’re buzzing to play that live for the first time.”

When asked if there is any further new material on the horizon, Williamson hinted at the possibility, saying: “Who knows, we might have a few more new tracks to drop by then. Either way, it’s been a while since we toured, and we’re gagging for it.”

The duo – consisting of Williamson and Andrew Fearn – have teamed up with humanitarian aid charity War Child – donating £1 from every ticket sold to the charity which supports children in war-torn countries.

This gesture continues the partnership between the band and War Child, after previously confirming that they would be donating the proceeds from ‘Megatron’ to the charity. This comes after the duo teamed up with Hot Chip last year on two singles in benefit of War Child – where they raised over £47,000.

Clare Sanders-Wright, War Child’s Live Music Lead, shared the charities gratitude in a new statement, saying: “We’re incredibly grateful to Sleaford Mods for their continued generosity and support. Every ticket sold will directly support our work protecting, educating, and standing up for children affected by war, and we can’t thank them and their team enough for standing with us.”

Sleaford Mods’ 2026 UK & Ireland tour dates are as follows: 

February

6 – Barrowland Ballroom, Glasgow

7 – Academy, Manchester
12 – O2 Academy, Leeds
13 – O2 Academy, Liverpool
14 – Great Hall, Cardiff
19 – 3Olympia, Dublin
20 – Limelight, Belfast
21 – Cyprus Avenue, Cork
26 – O2 Academy, Oxford
27 – Rock City, Nottingham

March

5 – Bristol Beacon, Bristol
6 – Brighton Dome, Brighton
7 – O2 Academy Brixton, London

Tickets go on sale this Friday (September 26) and can be purchased here – with £1 of every sale be donated to War Child.

From the start, ‘Megaton’ makes its message clear: “No War No Death.” The track takes aim at how we consume endless images and videos online while real human suffering is often ignored. Williamson calls out how social media can trap us in cycles of outrage and guilt, making people feel powerless while serious issues get buried under memes and selfies. It’s an attack on the way modern life can distract from real struggle.

What makes ‘Megaton’ stand out even more is its purpose. The band is donating all profits from the single to War Child, a charity that helps children living through conflict and an organisation at the forefront of activism within the music industry.

By tying ‘Megaton’ to this charity, Sleaford Mods are turning their message into action. The band has always been political, but this time the anger comes with a direct way to help. Instead of just raising awareness, the track will raise money that can make a difference on the ground. For fans, buying or streaming the song isn’t just about enjoying the music, it’s a way to contribute to protecting children whose lives have been torn apart by violence.

The video, directed by Nick Waplington, it was filmed at Speaker’s Corner in London, a famous spot for free speech and protest. The choice of location underlines the song’s call for people to speak up and be heard in a world where voices are often drowned out.

Musically, the track is simple but effective. Andrew Fearn’s stripped-back production lets the words shine while still carrying a heavy, uneasy groove. The result is music that is both danceable and confrontational, a mix the Mods have made their own over the years.

‘Megaton’ is more than just another single. It’s a statement: against war, against distraction, and against the numbness of modern media. By supporting War Child, Sleaford Mods prove they’re not just shouting into the void – they want change.

The track is available on a 7″ single here.

First established in the United States in 2007 and brought to the UK in 2008, Record Store Day has become a key date in the music calendar. More than 270 independent record stores across the UK—from London’s iconic Rough Trade to specialty shops like Maidinvinyl in Aberdeen—will participate. A store locator tool is available on the event’s website to help attendees find local events.

At its core, the day revolves around exclusive releases that artists create specifically for the occasion. Last year’s releases came from a wide array of artists, including Kate Bush, who offered a 10-inch vinyl of ‘Eat the Music‘ as the UK ambassador. The Cure celebrated the 40th anniversary of ‘The Top’ with a picture disc. Other highlights included Pixies, The Flirtations, Pharoah Sanders, Sun Ra, Young Fathers,  Soul Jazz Records, Paramore, and Sleater-Kinney, among others, with Rough Trade offering limited editions for albums like ‘This Is Why’ by Paramore.

Record stores will also host live music, DJ sets, and artist signings, making the day as much about the experience as the records themselves. Participating stores often feature performances from local bands, offering an additional layer of discovery for attendees.

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The event also underscores a broader trend: the resurgence of vinyl in the streaming age. In 2022, vinyl sales in the UK surpassed CDs for the first time in decades, and Record Store Day has been instrumental in this renaissance. It isn’t just a cultural celebration; it’s an economic lifeline for independent record shops. In 2024, the event drove vinyl to account for 37.2% of the UK albums market during its chart week, according to the ERA. Music consumption is at an all time high and limited-edition releases and increased foot traffic bring a vital boost to small retailers, while artists use the day to strengthen fan connections with exclusive offerings. As Drew Hill of Utopia Music puts it, vinyl is firmly “back at the heart” of music campaigns, benefiting both shops and musicians alike.

This year’s partners highlight the event’s growing cultural cachet. Collaborations include BBC Radio 6, long a champion of independent music; War Child, a nonprofit supporting children in conflict zones; and Studio by Miraval, who are home to recording studios where both Pink Floyd and the Cranberries have recorded albums in the past.

Whether you’re a lifelong vinyl collector, a casual music fan, or just curious about the charm of your local record shop, it’s a day to celebrate the tactile joys of music, from flipping through racks of vinyl to hearing the first crackle as the needle touches down on grooved PVC.

The elusive English singer – who has seen increased public focus since the use of her 1985 hit ‘Running Up That Hill’ from her album ‘Hounds of Love’ was used in season 4 of Stranger Things – doesn’t often make public appearances but instead choses to connect with her fans via the statements she makes on her newsletter. Each year she puts out a Christmas letter. In this year’s edition Bush meditated on topics that ranged from the war torn state of the world to the soft focus seasonality of impressionist painter Monet, dancing over to the future of the world shaped by AI in the process.

She opens on a bittersweet note: “It’s been really exciting to see the wonderfully positive feedback to the Little Shrew animation. Thank you so much to all of you who made a donation to War Child.”

She refers to the animated video she released earlier in the autumn tracing a shrew trying to get across a bombed out city. Planned in 2022 upon the break out of war in Ukraine, Bush was inspired to create an “anti-war animation.” It was finally released at the end of October. On Youtube it has since garnered over 300,000 views.

The caption urges viewers to donate to War Child: a charity that works to ensure a safe future for children in conflict zones. It’s clearly a matter close to her heart as she addresses in the Christmas Eve message: “The wars keep raging. We helplessly stand and watch as those poor people are caught up in the horrors of it all and of course there are the children…”

In a turn to the brighter things of the season, Bush conjures the warmth of childhood Christmas Eves, and draws inspiration from the atmospheric allure of a Monet exhibition in London. The exhibition - which showcases 21 paintings – focusses on Monet’s works of London in the smog.

Bush uses Monet’s blurred impressionist depictions as a metaphor for our current fascination with artificial intelligence. Just as Monet found magic in London’s industrial haze, she wonders if we, too, might be dazzled by the dawning light of AI, particularly as its deeper implications and true effects remain obscured.

As she ponders “Is that us? Standing in awe at the dawn of AI, the symbol of modernity, as smog was for Monet at that time in the newly industrial London?” she insinuates the same scepticism for AI that inspired her to sign a petition for the regulation of AI uses of creative’s works earlier this month.

As she eloquently phrases it: “Do we only see the twinkling light of the new invention, which so often catches the eye of our imagination… and what are those vague, dark sardonic shapes we can see in the background, behind the theatrical gauze?”

These vague questions belie an anxiety that hangs over artists such as Bush that does feel reminiscent of those of a painter caught in the age of industrial revolution. As Bush hints towards the possible release of new music in 2025, the revelation of the “sardonic shapes” as either “freshly painted bridges” leading to a bright new creatively thinking future or as digit coded “human pods, like those from the matrix” leaching off the human imagination, is essential for both her personally and the industry as whole.

Whatever lingers behind the mist of unknown potential it’s true that “All will be revealed when the smog begins to clear.”

She finishes with a simple and heartfelt message.

“Merry Christmas everyone. I hope it’s a really joyful one for you all.
Happy new year.
Kate”

Rooted in nostalgia for the past, compassion for the present, and a cautious curiosity about the future, Bush’s Christmas message feels like a poignant meditation on transition, as we step together from 2024 into an uncertain and hazy tomorrow.