Film Wave Introducing: Dirty Orange EPK

Film Wave

A few Journalists and I headed out into London, Camden Town to chat with emerging alternative rock trio Dirty Orange. With a group of four Music Journalists and three Music Photographers we were able to create something pretty great.


Go check out the EPK Lauren Mcdermott, Jordan Fann, Lottie Perkins and I all specialized in making.

Interviewer: Laviea Thomas

Photographers: Lauren Mcdermott, Jordan Fann and Lottie Perkins

Video Editing: Lauren Mcdermott and Jordan Fann

Video Shots: Lauren Mcdermott, Jordan Fann and Lottie Perkins


Words by: Laviea Thomas


Live Reviews

The setting was just about perfect on the 4th May, the sun had brought out the crowds in London’s infamous Oxford Street, so the refuge of the 350 capacity historic 100 Club came as welcome relief. Pictures of past greats who had graced this stage decorated the jazz club combined with the unchanging décor, created a palpable air of gravitas and expectation. As the club began to fill to capacity, six hipsters shuffled on to stage and grabbed their respective instruments. Rather unassuming, the newcomers to the stage seemed just as likely to be a part of the crowd then performing. Once the opening song began and the members fitted into their roles, it was clear that Treetop Flyers would meet the expectation that the setting had placed upon them.

Supporting the release of there new album, Palomino they blazed through their opening few songs with sufficient skill and charisma. The recent album deals with a lot of turmoil the band have suffered over the past few years, including the death of a friend, broken marriages and the departure of the long-time bassist. Despite the painful and sometimes cathartic record, Treetop Flyers remain in good spirits whilst on stage. Surrounded by warm pallets of colour and sometimes tropical style songs, they complimented the glorious weather that was still fresh in the memory for the crowd.

What really seemed to give the band that extra edge was the inclusion of a percussionist on stage. Whilst on tour, the band met the new member and added her along to the live show. The inclusion of live percussion helped create the warm vibe of the set and added a further layer in an already well layered band. With the inclusion of another member, Treetop Flyers were reminiscent of Arcade Fire in aesthetics, although sonically have a bigger folk influence than Arcade Fire have ever had.

Of course, with such an emotional record there were quieter moments within the set. These moments really allowed the lead singer/guitarist: Reid Morrison to show his skills. As he played the song St Andrews Cross about the death of his father, the sorrow was etched across his face and really drove the song onwards. It did not deter from the upbeat parts of the set, it allowed them to be more impactful to the crowd, who became more responsive as the night carried on.

Having already checked off playing the main stage of Glastonbury in 2011, releasing two albums despite a string of personal issues and now joining the ranks of Rolling Stones and the Sex Pistols who have played the iconic 100 Club, it seems like Treetop Flyers are going to be one of the big rising bands of the next few years.

Words by Jordan Emery



Bestival has announced another wave of artists for it’s 2016 event.

The annual festival held on the Isle of Wight has released details of the artists and bands who will be performing on the Invaders Of The Future Stage. Spanish alternative rockers Hinds, industrial indie outfit Zibra and pink punk princess Girli head up the announcement with Welsh rock band Pretty Vicious and dreamy The Japanese House also making an appearance. This line-up announcement follows the confirmation of some already well established artists like Years and Years, Bastille and Wolf Alice performing at the music festival, joining headliners Hot Chip, Major Lazer, The Cure at the September event.

The full announcement can be seen below:


Words by Shannon Cotton



Awful news hit the news today as on Monday evening (March 28th), R&B songstress Kehlani was hospitalized after attempting suicide following horrendous media backlash.

Earlier in the day, the Grammy-nominated singer-songwriter received endless backlash on social media platforms such as Twitter and Instagram following an Instagram by Canadian R&B performer PARTYNEXTDOOR. The post saw him and Kehlani in bed together with the caption “After all the shenanigans, still got the R&B singer back in my bed”. This post was uploaded amidst the rumours of Kehlani’s breakup from NBA star Kyrie Irving.

Kehlani was instantly ripped apart by an endless amount of people on social media, accusing the singer of cheating on the NBA star with her ex-boyfriend PARTYNEXTDOOR. All these accusations clearly took a toll on the songstress as it ultimately led to her suicide attempt. TMZ reported that she was placed on psychiatric hold after the emergency services arrived at her Hollywood home, stating that “she wanted to harm herself”.

Kehlani uploaded a photo onto instagram of her in a hospital bed hooked up to an IV with the following caption:

“Today I wanted to leave this earth,” she wrote. “Being completely selfish for once. Never thought I’d get to such a low point. But.. Don’t believe the blogs you read .. No one was cheated on and I’m not a bad person… Everyone is hurt and everyone is in a place of misunderstanding.. But as of today, I had no single wish to see tomorrow.. But God saved me for a reason, and for that… I must be grateful.. Cuz I’m not in heaven right now for a reason… On that note.. Bye Instagram.”

The post was quickly followed up with more abuse stating that she was attention seeking and not standing up to cheating accusations. The ‘You Should Be Here’ singer posted yet another Instagram post, shutting down haters and stating that she went through a bad breakup and realised that she was in love with her ex PARTYNEXTDOOR.

All thoughts are with Kehlani in this difficult struggle and we hope she has a speedy recovery.

Words by Connor Spilsbury-Brown


Live Reviews

In an age where female-less festival line-ups and derogatory tweets seem to make headlines daily, it’s no lie that the topic of women in music is arguably more relevant and necessary than ever.

GIRLI isn’t here to put up with that shit. The London based singer/rapper/producer spent the latter-half of 2015 gathering momentum off the back off a double A-side and mixtape-cum-podcast, with the flood of online interest for her PC-esque glitch-pop apparent in the full-to-the-brim Old Blue Last. Whilst it’s Milly Toomey to her parents, she’s the bold and barking mad GIRLI persona intent on bringing the girl power and flipping the bird to anyone in her way.

The self-labelled “foul-mouthed-pink-punk” would seem a tricky tag to live up to, but it’s apparent from the get-go. Backed by close pal DJ Kitty, Toomey hurls herself onstage as both woman repeatedly scream the f-bomb, all whilst head-to-toe in neon-pink Adidas tracksuits and lingerie. The hair, eyebrows and nails are, too, all the same colour with both looking as though they got caught in a sequin factory explosion. Accompanied with set opener Fuck Right Back Off To L.A and a synchronised Spice Girls dance routine, it’s not hard to see why GIRLI won’t settle for bland, chart pop.

ASBOys boasts a confidence (“I’m gonna drop your mother in the streets”) well beyond her only-just 18 years, engaging in an onstage slo-mo fight before strangling herself with the mic wire. Girl I Met on the Internet sharpens the Charli XCX comparisons, with the title charmingly fitting for an audience who’re mostly here from stumbling across her soundcloud. It’s reminiscent of an early Elliphant show, where a chaos of beats, bass and expletive-shrieking come together to create an all-round enjoyable scene to witness.

The downside comes from the lack of material showcased. Whilst clocking in at just five tracks, the visual disappointment from the crowd only proves the buzz surrounding her is no one-off. So You Think You Can Fuck With Me Do Ya rounds off the set, sounding like the Brooke Candy/Kate Bush lovechild freestyling over a Grimes off-cut whilst an array of tampons and Durex are thrown from stage. It is, however, highly doubtable that we’ll hear Bush yelp “you thought I was gonna do a ballad? Fuck off” anytime soon.

GIRLI’s mission isn’t to provoke; she’s just here for a good time. The Katie Hopkins sampled walk-on, the multiple chants of “pussy”, the delightful “suck my clit” banner. It’s statement making but with the fun coming first. GIRLI knows what 2016 needs, with this likely to be the last time Old Blue Last is showered in pink and pads as larger stages loom.

Words by Bill Baker and photo by Lydia Smedley


Live Reviews
The Key Club is an alternative rock venue on Merrion Street in Leeds city centre. Recently I ventured down to see what the fuss was about, and I wasn’t disappointed.
I hopped out of the taxi in the centre of vibrant Leeds into the bitter cold night; Key Club was my destination that Saturday night. A new addition to the alliterative club scene of Leeds, seen to be the famous Cockpits’ replacement after it sadly shut down last year.
I marched up to the entrance shivering, anticipating my next drink. A crowd of extremely emo looking young adults stood outside smoking, starred intensely as I entered, maybe because I wasn’t dressed for an 2003 My Chemical Romance concert. I’m not sure. Anyway I paid the door man fiver (£3.00 entry on weekdays) and ventured down the dark stairway.
The club was ecstatic, people jumping around to the rock/heavy metal music, eyes lighting up as an nostalgic song came on from their childhood. After grabbing a VERY cheap drink I started join in the mayhem. It is really funny what alcohol and Annie by Alien Ant Farm does to you.
As the night went on the DJ proceeded to play banger after banger, everyone seemed to love it. The smoke machine was on full blast keeping an dark, unknowing look to the dance floor creating an atmosphere that you would typically expect in a rock club. White lights flashed through the mist making everything bit confusing yet enjoyable.
I made my way to other other room, as I stepped in I was taken back by the lack of people dancing, then I realised why, Taylor Swift was coming out of the speakers, “Baby I got bad Blood”. After diving straight in attempting to pull of some my best moves in my drunken state I soon realised it was the Guilty Pleasure Room. What a refreshing change from Slipknot and System Of A Down.
Key Club really does give you the best of both worlds, the rooms might be polar opposites but somehow balances the genres out to make everybody happy. And to top it off you can get double Vodka Lemonade for £3.00.
The club has become an well known venue in Leeds, hosting mainly rock and metal bands from all around the world, making it extremely popular within the Leeds music scene. Key Club has well and truly filled a hole in the hearts of those missing venues such as The Cockpit and The Well.
Words by Lydia Smedley


Live Reviews

With a 2015 Mercury Prize nomination and four 2016 Grammy nominations under her belt, Florence + The Machine embarked on a worldwide tour to promote their third album How Big, How Blue, How Beautiful. The last show of the second leg sees Florence and her musicians in Milan.

Though she is a few minutes late, Florence appears on stage from below, exchanging flowers and kisses with those in the front rows. The set design is simple. Behind the six musicians and two backing vocalists shimmers a whole wall made of silver tiles.

The set list is full of new songs like What Kind Of Man, Ship To Wreck and Queen Of Peace, along with the inevitable past successes such as Dog Days Are Over, Shake It Out and You’ve Got The Love.

Florence and her band hypnotise the crowd made of 12,000 people at the Forum. It is impossible not to follow the rhythm and let yourself go for the whole length of the show. Her sound is energetic full of emotion and joy. The atmosphere offers an immense sense of liberation but, with a moment as intimate as the acoustic version of Cosmic Love, accompanied only by the sound of the harp and its beautiful dark lyrics “You left me in the dark\ No dawn, no day, I’m always in this twilight \ In the shadow of your heart”, she creates something that’s hard to forget.

Florence is a force of nature. Singing and dancing and running around the stage barefoot for the whole show only stopping for a moment, inviting her fans to turn off their phones and live in the moment for the song Third Eye. She wants everyone to enjoy the show “with their eyes, with their ears and with one another”.

Song after song the crowd is always more glowing and enthusiastic and so is the band.

Florence + The Machine come back on stage for the encore, ending the night with Mother, Which Witch and Drumming Song.

Everything about Florence on stage is empowering, her music, her presence and even her strange charisma.

Her moves are so theatrical and her high and thin voice is almost angelic but she is very human and earthly picking flower crowns her fans throw at her. She gives the feeling she is constantly immersing herself in the depths of her soul in order to offer the best that she can to her audience.

Words by Giovanna Paglino


Music Reviews

It’s been a really, really long time since we’ve heard anything from Jake Bugg. At just 17 years old he released his self-titled debut album and very quickly followed up with sophomore record Shangri La. Now after what seems like a decade long break (which was only actually a couple of years), the 21 year old has released the first hint of music from his eagerly anticipated third LP.

Whilst rumours of a collaboration between Bugg and Beastie Boys’ Mike D still circulate, On My One is not quite the result you’d expect, if the rumours are true. The song is a return to the bluesy, grass roots sound which gained Bugg critical acclaim on his debut.

It opens with a solitary guitar line, a whispy drum and Bugg declaring: “I’m just a poor boy from Nottingham.” He continues: “Three years on the road, 400 hundred shows, where do I call home? No place to go” and it becomes clear that honest recounts of the singer’s life are still a main theme and inspiration for his music.

You can take the boy out of Nottingham, but you can’t take the Nottingham out of the boy.

Listen to On My One below: