Originally from Suffolk and now based in Northamptonshire, Beth’s story begins in the kind of village setting that seems almost designed for storytelling. She describes growing up in the countryside as “really special”, surrounded by community and support in a tiny village where everyone knew one another. That sense of closeness seems to run through her music now too – songs built around emotion, memory and connection rather than spectacle.

Performance found her early. At just five years old, she was begging to join the local amateur dramatics group, already drawn towards music and storytelling before fully understanding why. Around the same time, her parents bought her a small electric keyboard, which quickly became a fixture in her world. “Apparently I spent most of my time badly singing Twinkle Twinkle Little Star,” she laughs. From there, music quietly became the thread connecting everything else together.

It’s clear how much that early encouragement mattered. Singing lessons, piano lessons, local theatre productions – all of it helped shape not only her confidence as a performer, but the emotional openness that sits at the centre of her songwriting now. Over time, writing songs stopped being a hobby and became something far more personal.

That shift really happened when she moved away for university. After growing up in a sheltered village environment, suddenly navigating city life, relationships, friendships and lockdown within such a short period of time felt overwhelming. Like many people in their late teens and early twenties, she found herself trying to work out who she was while everything around her kept changing.

Music became the place where all of that could go.

“It was my escape, but also a way of processing emotions and making sense of experiences I didn’t always know how to talk about,” she explains. There’s something deeply relatable in that. The idea that songwriting can sometimes say the things we struggle to voice in everyday life.

Beth speaks openly about being drawn to artists who tell difficult truths through music – songs that sit honestly inside uncertainty, heartbreak or growing pains rather than trying to tidy them away. That influence feels present throughout her own writing too. There’s emotion there, but it never feels overworked. Just genuine.

Both piano and guitar play huge roles in shaping that process, though in very different ways. Piano, her first instrument, naturally leads her towards more atmospheric and emotional songwriting. Guitar, on the other hand, feels more instinctive and experimental. “I call myself a fake guitarist,” she jokes, explaining how she largely taught herself through YouTube tutorials, playing by ear and experimenting with alternate tunings.

That self-taught approach seems important to her sound. There’s a looseness and unpredictability to it that allows different moods to emerge naturally depending on the instrument she’s writing with. Sometimes guitar brings out something more upbeat and playful. Other times, it creates her most intimate songs. Either way, the storytelling always remains central.

She describes her sound as “honest, cinematic folk-pop with touches of Americana and country”, shaped by artists like Kacey Musgraves, Fleetwood Mac, George Ezra and Ed Sheeran. Growing up in Suffolk, Ed Sheeran’s rise understandably felt significant. “He was honestly one of the reasons I picked up a guitar in the first place,” she says.

But what connects all of those influences is their ability to tell stories without losing warmth. Music that feels personal without becoming inaccessible. That balance is something Beth seems to naturally understand.

Recently, that understanding has been tested and strengthened through life on the road. She’s just come off a UK tour supporting The Blackheart Orchestra – an experience she describes as both eye-opening and transformative. Touring gave her the chance to perform to new audiences night after night, helping her grow in confidence and develop her connection with people in the room.

At the same time, it also exposed the realities of being a grassroots musician in 2026.

“There’s a huge amount of sacrifice, hard work and financial pressure involved,” she says honestly. Two months spent living out of a suitcase and driving across the country isn’t exactly glamorous, but the way she speaks about it makes it feel worthwhile nonetheless. Particularly because of the people around her. The Blackheart Orchestra, she says, were “some of the kindest and most supportive people” she could have toured with.

That sense of support and community clearly matters to Beth, and it’s part of why playing grassroots festivals still feels so important to her. This year she’ll be appearing at Music Barn Festival on the Barn Stage – something she speaks about with genuine excitement. Festivals like Music Barn, she says, are essential spaces for emerging artists, particularly at a time when so many independent venues and grassroots events are struggling to survive.

“They give people the chance to discover new music in a really personal and authentic way,” she explains. There’s a mutual care in those spaces that larger events can sometimes lose. It’s about community as much as performance. Discovery as much as scale.

That same spirit seems to run through everything Beth is building now, particularly as she works towards releasing her debut album. The project feels deeply tied to where she currently finds herself creatively and personally – exploring themes of identity, change, relationships and uncertainty.

More than anything though, it reflects an artist trying to let herself evolve naturally rather than forcing herself into a box.

“Finding my identity as an artist is something I’ve honestly struggled with recently,” she admits. “Especially feeling pressure to fit into a certain genre or brand.” It’s something many young artists quietly carry now, particularly in an era where social media often creates the illusion that everyone else has already figured themselves out.

Beth’s perspective on that feels refreshing because it’s so grounded. She recently turned 23 and openly speaks about moments of panic, questioning why she doesn’t have everything mapped out yet. But instead of pretending certainty, she’s learning to trust that growth happens through experience. Through writing, performing, experimenting and simply living life.

That philosophy extends naturally into the advice she gives other young singer-songwriters too. Don’t pressure yourself to have everything figured out immediately. Stay curious. Keep creating. Don’t chase trends or somebody else’s version of success. Let your sound develop naturally over time.

There’s something reassuring about hearing that from an artist who is still very much in the middle of her own journey. Beth Eliza doesn’t present herself as someone who has all the answers. Instead, she feels like someone learning in real time – and writing beautiful songs through the process.

And honestly, that’s probably what makes the music connect so well in the first place.

Listen and follow Beth Eliza:
https://www.bethelizamusic.co.uk/

The post Beth Eliza: Finding Home in the Honest Moments first appeared on Fleckies - Discover the best local events in town.

At their core, Luna Rosa – made up of Rory McDade, Cam Latta, Aidan Furey and Jack Connolly – are a band built on feeling. “Our sound is built around atmosphere, groove and intensity,” they explain. “It’s cinematic in places, but always grounded in raw energy.” And that word – energy – comes up again and again. Not in a throwaway way, but as something that defines them. Everything they create is designed to be experienced in a room, not just listened to.

Like most stories rooted in grassroots music, theirs doesn’t begin with anything extraordinary on the surface. Growing up, life was fairly normal for all four of them. Music was always there, but not necessarily as something they immediately saw as a path. It was gradual. Something that crept in and stayed.

“It starts as something you’re into,” they say, “then gradually becomes something you can’t really ignore.”

That shift seemed to happen during their teenage years, when music moved from background noise into something more consuming. Joining bands, experimenting with sound, figuring out what they were drawn to. But it wasn’t until they started recording that things became more serious. There’s something about capturing a piece of music permanently that changes your relationship with it. It asks more of you. More thought, more intention, more care.

The formation of Luna Rosa itself feels refreshingly simple. No big moment, no grand plan. Just a chain of connections that came together at the right time. Rory had heard that Aidan was looking to join a band and decided to check out his SoundCloud. “I think it had a Power Rangers remix on it,” he laughs. “After hearing that I was sold.”

From there, things moved quickly. Rory knocked on Aidan’s door, old-school style, and they started jamming that same day. Aidan then brought in Jack and Cam – friends from school and previous bands – and just like that, the foundations were set. It’s the kind of origin story that feels very true to the scene they come from. No industry machine, no strategic matchmaking. Just people finding each other through music.

What makes Luna Rosa work is their chemistry, but more specifically how that chemistry is built from difference. Each member brings their own influences – not just musically, but from art, literature and film. “Somewhere in the middle we meet,” they explain. It creates a kind of melting pot where ideas collide and settle into something cohesive.

There’s also a real awareness of space within their sound. Jack and Cam form a rhythm section that knows when to push and when to hold back. “They know when to be furious and when to give space,” Rory says. Aidan brings a more atmospheric edge, shaping emotive sounds that elevate each track. And Rory, in his own words, keeps things moving – even if that just means getting everyone to the right place at the right time.

Their sound is often described as atmospheric indie, but that only really scratches the surface. There’s a clear love of melody that echoes bands like The Stone Roses and Oasis, layered with the dynamic intensity of Editors and Foals. Then there’s something heavier underneath it all, a rawness that nods to bands like Led Zeppelin. But what stands out most is how they build tension. Songs don’t just exist – they unfold. Drawing you in slowly before opening up into something bigger.

Importantly, their influences extend beyond music. “Our environment and social status have always played a big part,” they say. That grounding in real life, in where they’re from and what they’ve experienced, gives their sound a weight that feels honest.

After a quieter period on the release front, the band are stepping into a new chapter with a renewed sense of clarity. Not drastically different, but more refined. “The upcoming songs feel more well rounded and accomplished,” they explain. It’s less about reinventing themselves and more about growing into what they’ve always been building.

Their new single, The Luge, captures that evolution perfectly. The track began with a simple idea – chords inspired by a City & Colour gig – before taking on a life of its own. “I get bored of covers,” Rory admits, “so I started turning it into something new.” From there, it became something more chaotic. A mix of heavy emotion and restless energy, shaped by a day spent inside watching fight films and feeling slightly off balance.

Live, the track seems to take on another dimension entirely. They describe playing it in a packed, sweaty venue in Manchester, the room “swaying and vibrating with all the carnage going on.” It’s a song designed to let go to. To get lost in.

That connection between band and audience sits at the centre of everything they do, and it’s something that’s been shaped heavily by where they’re from. Corby might not be the biggest scene, but what it lacks in size it more than makes up for in community.

“The sense of community and how much everyone helps one another is immense,” they say.

It’s something I’ve seen time and time again. When a scene genuinely supports itself, it creates space for artists to grow without the noise of ego getting in the way. Luna Rosa recognise that. They built their early audience in those rooms, playing local gigs and connecting with people who believed in them from the start. That foundation has allowed them to step into bigger spaces while still staying rooted.

Their upcoming single launch at The Steel Bar in Corby feels like a full-circle moment because of that. A hometown show, surrounded by familiar faces and local talent. “It’s where it all started,” they say. “These people are the reason we’ve been able to grow.”

The line-up reflects that same ethos. Bands they’ve watched develop, artists who have always been part of the wider scene. It’s not just about celebrating a release. It’s about celebrating the people who made it possible.

Looking ahead, 2026 is shaping up to be a big year. More singles are already lined up, alongside live sessions they’re eager to share. There are bigger shows on the horizon too, with support slots and festival appearances waiting to be announced. It’s the kind of momentum that feels earned rather than rushed.

But despite everything building around them, their outlook remains simple. Keep going. Keep creating. Keep trusting what they’re doing.

That message carries through into their advice for other bands coming up through the same scene. “Believe in what you’re doing,” they say. “Wear your heart on your sleeve and go for it.” There’s no sense of overcomplication. Just a quiet confidence that if you stay true to it, the right people will find you.

Spending time with their story, it’s hard not to feel that same belief. Bands like Luna Rosa are proof of what can happen when talent meets community. When people support each other properly, something bigger starts to form. Not just a band, but a scene that holds itself together.

And if this next chapter is anything to go by, they’re only just getting started.

Listen and follow Luna Rosa:
Stream and explore more on Spotify:

For socials, tickets and everything else, click here

Tickets for the Single Release Party on 28th March

The post Luna Rosa: Where Atmosphere Meets Energy first appeared on Fleckies - Discover the best local events in town.

Olivia has been singing since she could “make noise”, with her first solo being Twinkle Twinkle at nursery at just four years old. Music wasn’t a later discovery – it was instinct. Family has always been central to her world. She’s a little sister, a big sister, and now a mother herself. “Life within my family circle was incredible growing up,” she tells me. “My mum and dad are literally my best friends. We’ve always been encouraged to do what we love.” That support system has clearly shaped her confidence and resilience.

School, however, was a different story. Olivia experienced severe bullying, which worsened when her TikTok started gaining traction. What should have felt exciting became another source of scrutiny. Eventually, her mum made the decision to homeschool her. Through a charity called Chums, Olivia found emotional support – and it was during this period that songwriting truly began. “That’s really where my song writing started from,” she says. Writing became therapy. A diary. A way to process pain when there weren’t many other safe outlets.

Before country music claimed her fully, Olivia describes herself as “always a pop kinda girl”. She adored One Direction and loved musical theatre, drawn to the acting within songs. She would try her voice at any genre. But country entered her life through someone deeply important – her nana. “We would listen to Dolly Parton and Shania Twain in her car and I just loved the storytelling,” she says. Country felt like home because it was tied to memory and family. That lineage matters. You can hear it in the way she writes now.

Her songwriting style is instinctive and honest. “I’m chaotic” she laughs. She writes wherever inspiration hits – in the bath, at the park, in the pub. If a line or feeling grabs her, she notes it down immediately. Recently she’s been co-writing with Joe Bygraves, whose calm approach has helped refine her process. “It almost feels like I’ve grown up in how I write,” she reflects. The raw honesty is still there, but it’s becoming more shaped, more intentional.

Influence-wise, Dolly and Shania are embedded in her storytelling DNA. More recently, she admires Ella Langley, and when it comes to performance, it’s Lady Gaga. “I adore her showmanship and how she commands the stage,” Olivia says. “I like to think I’m a little like her when I perform live.” That blend of country storytelling with bold stage presence gives her an edge – she isn’t trying to shrink herself to fit a box.

Every song she’s released so far has come from lived experience. “I use my song writing as a form of diary or therapy,” she explains. At 13, during the height of bullying, she wrote constantly. Many of those songs may never be released, but they carried her through. Even now, if something happens in her life, her instinct is to turn it into a song. One detail I love is that after writing, she immediately finds her parents to play it to them first. That grounding keeps her anchored in something real.

Being independent has taught her quickly that not everyone will understand or support what she’s doing. “I’ve realised I’ll never be everyone’s cup of tea and that’s ok,” she says. That acceptance feels mature beyond her years. She knows she has to stay true to herself, and that her people will find her. Balancing gigs, rehearsals and motherhood is no small task, and she’s open about the challenge. She credits her mum heavily for supporting her daughter while she works. “I just don’t want to stop doing what I’m doing, so I just carry on,” she says. That drive is clear.

The country community has welcomed her warmly, even if she doesn’t fit everyone’s idea of “true country”. She’s aware that people can reduce her to surface impressions – “a blonde young girl” as she puts it – but she’s writing directly into those assumptions, even naming a track Blonde Bimbo. What she’s asking for is simple – to be seen in full. “When people actually get to know me, my story, they take me more seriously,” she says. And she’s right. Context changes everything.

Right now, she’s standing on the brink of a huge milestone. Through BBC Introducing and BBC Radio 2, Olivia is performing at Country to Country Festival at The O2 this March. She invited BBC Introducing to her headline gig last September, hoping they’d see her growth. They did. After a Zoom call congratulating her on having her song chosen as one of their songs of 2025, she was asked what she’d love to do next. Her answer was immediate – C2C. “She said well Olivia we want you to play C2C for us this year,” she recalls. She cried. She had to keep it secret until the announcement. Bob Harris has since played her music, and she’ll meet him at the festival. For someone who’s been saying “I just need to work hard to get to C2C” for years, this moment feels earned.

“It means absolutely everything,” she says. Especially after the past year of balancing motherhood with relentless graft. There’s no illusion that it happened overnight.

She hasn’t forgotten her roots either. Before C2C, she’s hosting a warm-up headline show at The Castle in Luton so her local supporters can see her live without London prices. That decision speaks volumes. She’s also releasing a new single, Little Miss Nightmare, which will be the title track of her debut album currently in progress. There’s a collaboration coming with country singer Nick Edwards, festivals booked, and mentorship from Dave Wiggins helping her navigate the industry more strategically. 2026, she says, is looking good.

When I ask what advice she’d give to other young artists, her answer is grounded. Stay true to yourself. Work hard. Don’t copy someone else – carve your own lane. “Never give up because you’ll feel at times you want to,” she says. Then she adds something that stays with me. “If it wasn’t for my music I probably wouldn’t be here.” That’s the core of it. Music didn’t just give her ambition. It gave her survival.

Olivia Lynn is still at the beginning of her story, but she carries herself with a clarity that feels rare. She’s turned pain into power, support into strength, and ambition into action. And if this is what 20 looks like for her, I can’t wait to see what comes next.

Listen and follow Olivia Lynn: https://linktr.ee/olivialynnuk

The post Olivia Lynn: Turning Pain Into [Girl] Power first appeared on Fleckies - Discover the best local events in town.

Maddox grew up in Northampton, but not in a way most people would expect. He spent his childhood in a Christian commune just outside town – an environment he describes as intense and sheltered, yet filled with music and community. “I grew up in a pretty unconventional environment,” he tells me. “It was intense, sheltered in some ways, but also full of music and community.” That combination of structure and isolation left its mark. Northampton itself, with its underdog grit and lack of gloss, shaped him too. “It’s not flashy. You have to build things yourself. I think that gave me hunger.” There’s something in that which feels distinctly Northampton – no one hands you the blueprint, you sketch it yourself.

Music was always present, but it wasn’t immediately a career plan. It became something more when he realised it was the only place his thoughts seemed to settle. “I remember writing songs as a teenager and thinking, this is the only time my head feels quiet.” That line stayed with me. For a lot of creatives, art begins as survival before it ever becomes ambition. After university, he was signed, and for a brief moment it all felt official. But it was being dropped not long after that became the real turning point. “Getting dropped was the moment it became a calling,” he says. “I had to decide whether I loved it enough to carry on without the shiny stuff. I did.” It’s easy to celebrate the signing. It’s harder to stay when the contract disappears.

Guitar came first for Maddox. He learned to play so he could write, and that rhythmic, percussive foundation still underpins his songs now. Even when he’s sat at a piano, he says he’s thinking like a guitarist. The instrument gives his music momentum, but it’s the songwriting that gives it meaning. He describes his sound as “anthemic, emotional pop rock with a bit of grit” – big choruses, honest lyrics, something people can shout back at him after hearing it once. Influences like Bruce Springsteen and Ryan Adams show up in the storytelling, while bands like Coldplay inspire the sense of scale. But more than anything, it’s life that shapes the sound. “Therapy, heartbreak, faith, losing faith, getting back up again – it all finds its way into the songs.” There’s no detachment there. It’s lived-in.

Being from Northampton has grounded him in ways he doesn’t take for granted. Places like The Roadmender were formative – seeing touring artists pass through town and realising it was possible. “There’s something about Northampton artists,” he says. “We graft. No one hands you anything.” Playing his hometown still hits differently. “There’s history in the room. Family. Old friends. Teachers.” That sense of roots feels important, especially in an industry that can pull you away from yourself if you’re not careful.

Songwriting, for Maddox, is rarely abstract. He admits he’s tried hiding behind clever metaphors, but the songs that resonate most are the ones that tell the truth. Internal Family Systems therapy has shaped his writing deeply, particularly on tracks like Talk to You. “A lot of my writing comes from conversations with my younger self,” he says. He’s constantly observing, half present and half narrating the moment. It’s vulnerable work, but that vulnerability is the point. The honesty is what connects.

Career highs have come in waves. Supporting artists like Will Young and Lucy Spraggan on tour stands out – walking onto stages where the audience doesn’t know you and winning them over song by song. “That feeling is addictive,” he says. But equally defining was releasing his album Waiting for the World to Turn independently and watching it find its audience. That moment proved he could build something on his own terms. In a world obsessed with quick wins, independence can be the bravest move.

The industry, of course, hasn’t been smooth. Being dropped by a major label knocked his confidence, and there were years of questioning everything. Add mental health struggles and self-worth into the mix and the path hasn’t been linear. What he’s learned is that resilience is rarely dramatic. “It’s just getting up again,” he says. “Sending the email. Writing the next song. Playing the next gig even if twenty people turn up.” There’s something powerful about that simplicity. It’s not glamorous, but it’s real.

Right now, Maddox is building towards his next chapter. He’s writing constantly, shaping a body of work that feels hopeful but not naive. “Bigger sonically, braver lyrically,” he says. Collaboration is playing a larger role too, as long as it feels authentic. Live, he wants to grow headline shows in 2026 and deepen the connection with audiences – maybe even take it further afield. But the ambition feels balanced. Not frantic.

Looking ahead, his focus is on longevity and meaning rather than metrics. Creatively, he wants to keep pushing, to avoid repeating himself and make records that feel timeless. Personally, it’s about staying mentally healthy and enjoying the process. “Success for me now is longevity and meaning, not just numbers.” That shift in perspective feels significant. So many creatives burn out chasing milestones that don’t fulfil them. Hearing someone articulate that balance so clearly feels refreshing.

When I ask what advice he’d give to young artists, his answer is grounded. “Be patient. Get better at your craft. Write loads of bad songs so you can write a few great ones. Don’t build your self-worth on streaming numbers. Build real relationships.” Then he adds something that feels deeply personal. “Your story is your superpower. The stuff you think disqualifies you is usually the thing that makes you different. Lean into it.” That line alone is worth holding onto.

Creative journeys are rarely straight lines. They twist, stall, detour and surprise you. What struck me most about this conversation wasn’t the milestones, but the willingness to keep returning to the love of it. Fame, wealth and numbers are loud distractions in this industry, but they don’t mean much if you’re not happy. Maddox Jones feels like someone who has done the inner work to understand that. And perhaps that’s why his music carries weight – because it’s not chasing validation. It’s chasing meaning.

Listen and follow Maddox Jones:

https://www.instagram.com/itsmaddoxjones/

https://maddoxjones.lnk.to/nomoreghosts

The post Maddox Jones: Finding Meaning Beyond the Noise first appeared on Fleckies - Discover the best local events in town.

Growing up, Nish was always surrounded by music and stories. It quickly became more than background noise – it was a way to understand her emotions and explore her identity. “Life wasn’t always straightforward,” she tells me, “but those early experiences shaped how I express myself through art today.” Music became a space where she could make sense of things when words alone weren’t enough.

Although music had always been present, it was during her teenage years that it truly became part of her identity. What began as a personal outlet slowly turned into something she knew she wanted to pursue seriously. That shift became real in 2022 while travelling in Australia, where her journey as a recording artist properly began. Time spent writing and working in the studio abroad marked a creative turning point – one that still influences her sound today.

As an artist, Nish describes herself as playful and honest, drawn to coming-of-age moments and real emotion. “I love the highs, the lows, the awkwardness and the magic of growing up,” she says. Her influences reflect that sense of nostalgia and fun – from Disney and Taylor Swift to early 2000s Y2K pop and skater-girl energy. It’s a mix that feels familiar but fresh, giving her music warmth, colour and personality.

Being an independent artist has given Nish full creative freedom, but it hasn’t been without its challenges. “It’s been a journey of growth, learning and resilience,” she explains. Independence means backing herself every step of the way, staying motivated, and trusting her instincts. Along the way, she’s learned to embrace experimentation and lean on the communities around her for support and inspiration – something she values deeply.

When it comes to creating, inspiration can strike anywhere. Films she loves, small everyday moments, or simply how she’s feeling that day all feed into her songwriting. At the heart of it is a desire to capture the messy, emotional and joyful parts of growing up and turn them into songs people can truly connect with.

That sense of connection is everything to Nish. “Music is my way of connecting with others on a deeper level,” she says. “I hope listeners feel seen and understood when they hear my work.” It’s that shared emotional experience – the feeling that someone else gets it – that makes creating music so meaningful for her.

Those themes come together beautifully on Moonlight Metamorphosis, Nish’s EP born from a period of personal transformation and self-reflection. The project explores contrasts – light and darkness, growth and struggle – and captures a specific chapter of her life through sound. Some of the themes were intentional from the start, while others emerged naturally as the songs took shape. Rather than forcing a concept, Nish allowed the creative process to lead, resulting in an EP that feels both thoughtful and instinctive.

Since its release, the response has been overwhelmingly positive. “Everyone’s said such encouraging things,” she says, which has been hugely affirming. One standout moment has been the music video for Transformation, which not only brought the track to life visually but has also been entered for awards this year. Seeing the project fully realised has been both exciting and rewarding.

Looking ahead, Nish is focused on continuing to evolve. New music is on the way, alongside festival shows and collaborations with other artists. She’s also expanding her creative world beyond music, currently editing YouTube vlogs and merging her music videos and channel content into one cohesive space. Her longer-term vision is as fun as it is fitting – creating a theme song or video to kick everything off, inspired by classic Disney Channel or sitcom intro vibes.

Nish Faith is an artist in motion – growing, experimenting and embracing every stage of the journey. With her honesty, creativity and genuine connection to listeners, she’s building something that feels deeply personal yet widely relatable. Wherever she takes things next, one thing’s certain – her story is only just beginning.

Listen and follow Nish Faith:
Stream Moonlight Metamorphosis and explore more of Nish’s music on Spotify:
https://open.spotify.com/artist/0dbOXplb3gN3dBpzDJsctW

For videos, socials and everything else, head to:
https://linktr.ee/nishfaith

The post Nish Faith: Soundtracking the In-Between first appeared on Fleckies - Discover the best local events in town.

The Manchester-based singer-songwriter has always done things her way. From leaving a corporate job to pursue music full-time, to landing on the UK Country Albums Chart at number 8 alongside Beyoncé and Taylor Swift, Lisa is proof that authenticity, grit, and good melodies still matter.

But this journey didn’t start in a studio or on a stage. It started at home.

Finding Her Sound

“My dad is Irish and would always play traditional Irish, country and folk songs on guitar at family gatherings,” she says. “So I grew up around music. I loved school plays, had singing lessons young… it was always there.”

Still, it wasn’t until lockdown that music went from passion to purpose. At the time, Lisa was working a 9-to-5 in Cheshire. “I decided after lockdown I’d move to Manchester and ‘be a singer’. I think my friends thought I’d gone mad,” she laughs.

Turns out, she wasn’t. Her debut album, Nice To Meet You… Again, made it into the Top 10 UK Country Albums, with support from BBC Introducing, sold-out headline shows in Manchester and London, and slots at Glastonbury and Kendal Calling. All from an artist who didn’t even know there was a UK country scene when she first picked up the mic.

Midnight Melodies and Microphone Moments

“It’s been a wild ride,” she admits. “I was checking the bottom of the chart when my dad FaceTimed me and said, ‘Have you seen? You’re at number 8!’ It was surreal.”

Despite her growing success, Lisa stays rooted in the craft. Her songs are thoughtful, rich with feeling, and often born from midnight flashes of inspiration. “Melodies come to me just before I fall asleep,” she says. “The voice note app on my phone is full of half-asleep ideas.”

She often co-writes to bring these sparks to life, building stories with other writers around the ideas that land in those sleepy, special moments. The result is a sound that blends her country roots with a modern, northern twist – honest, emotional, and unmistakably hers.

Breathwork, Balance & Building What’s Next

Alongside music, Lisa has been building something equally important: a career in wellness. As a certified Breathwork & Mindfulness Teacher, she runs sessions that often include live vocals – offering an immersive experience where calm meets creativity.

“I sing during my wellness sessions, especially at festivals like Fearne Cotton’s Happy Place,” she says. “It’s such a unique way to deliver music. And it’s beautiful to see people receive it like that – in stillness, in presence.”

Lisa recently stepped away from her corporate life to focus on music and wellness full-time. While the album took time, energy, and money to create, she’s not rushing what comes next. “Music is always brewing,” she says. “I might not have a huge project lined up yet, but I’m always up to something.”

As for advice to fellow artists?

“Keep going. Nothing comes easy,” she says. “Networking is just as important as talent – maybe more. Be authentic, don’t try to fit in a box. I was told to leave country and go pop… and then Beyoncé released Cowboy Carter. So trust your gut, and have fun with it.”

Wise words from someone who carved a path that didn’t exist… until she walked it.

Listen, Follow & Support Lisa T

Dive deeper into Lisa’s world… whether it’s country music, mindful moments, or both.

Watch her headline show at Band on the Wall: Watch on YouTube

Website: www.lisatofficial.com

Follow Lisa T:

Instagram (Music)

Facebook

TikTok

Instagram (Wellness)

The post Lisa T: Music, Mindfulness & Making It Independently first appeared on Fleckies - Discover the best local events in town.

Formed during college, Decadence are proof that the right mix of raw talent, determination, and late-night jam sessions can spark something special. The lineup? Kyanna on vocals, Dylan shredding on guitar, Frankie holding down the drums, and Finlay bringing the basslines. Together, they’re crafting a sound inspired by the likes of Evanescence and Muse… big riffs, even bigger vocals, and that atmospheric edge that pulls you in and doesn’t let go.

“Being part of Corby’s music scene has been amazing,” they say. “As a young band, the local jam nights and open mics have been such a huge help for us. The more we turn up and play, the more people take notice – and the community here really supports you.”

Those jam nights are where Decadence started to build their following, showcasing their sound and growing in confidence with every set. Even though Dylan lives a few towns over in Desborough, the band’s commitment to putting in the hours together shows just how much they believe in what they’re building.

And now? It’s time for everyone else to hear it too.

Their debut single ‘Come Forth’, is a full-throttle introduction to Decadence’s world. Packed with heavy riffs, technical drum work, and Kyanna’s high-powered vocals, the track channels their biggest inspirations while carving out a sound of its own. “The meaning behind the song is about people hiding behind a facade – pretending to be someone they’re not. Eventually, everyone’s true colours show,” explains the band. “It’s a song full of energy from start to finish, and Dylan’s guitar solo is the cherry on top.”

With gigs lined up in Kettering, Corby, and Hinckley, there’s no better time to get behind Decadence and see what this new wave of young Corby talent is all about. Follow them on socials for all the latest updates: @decadencebanduk

Listen to ‘Come Forth’ now: Click here to stream

And explore more: linktr.ee/decadenceband

The post Meet Decadence: Corby’s Next Big Rock Breakout first appeared on Fleckies - Discover the best local events in town.

Unlike many musicians who start young, Keiron first picked up a guitar at almost 17. What began as curiosity quickly turned into a lifelong pursuit. The Beatles were his gateway, but his inspirations grew to include legends like Nick Drake, Bob Dylan, Fred Neil, Nina Simone, Charles Mingus, and John Coltrane. These icons helped shape a musical voice that is deeply personal and always evolving.

Over the years, Keiron has carved out a sound he calls “alternative folk” – rooted in tradition but infused with the improvisational spirit of jazz and the intricate storytelling of blues. His fingerstyle guitar playing, heavily influenced by the late Jack Rose, brings a raw, ragged beauty to his compositions. It’s a style that feels lived-in and honest.

Milestones along the way have marked his growth as an artist: learning ragtime guitar, discovering Jack Rose, and playing memorable gigs – from The Water Rats in London, opening for artists from New York’s Catskill Mountains, to a standout set in Rugby alongside a musician who once jammed with Les Paul. These are moments that have added layers to Keiron’s story.

Songs and albums matter deeply to him. “54-46 Was My Number” by Toots and The Maytals made such an impression that he tattooed the numbers on his hand. Albums like Kind of Blue, Revolver, and Innervisionsare constants in his life… weekly listens that feed his creative fire.

Community plays a big role in Keiron’s world. He’s active in the local scene, especially around Kettering, where jam nights bring musicians together to connect, collaborate, and grow. Through these nights, he’s built strong friendships, including one with Alex Gardner of Beings, whose music he’s helped record from home. He’s also part of a rock ’n’ roll band called The Gadgets, which he plays in alongside his son – a full-circle moment that reflects both his love of music and his love of family.

Venues like The Black Prince in Northampton and Just Dropped In Records in Coventry have become key stops on his journey. Supporting Ben Ottewell of Gomez at The Black Prince remains a personal highlight, as does performing in intimate, unconventional spaces where the connection between artist and audience is truly felt.

Keiron is currently working on a new EP, set for release in 2025 and looking ahead, he hopes to perform more in the North of England, where the acoustic and folk scenes are especially vibrant. A dream gig? Supporting Ryley Walker. After meeting him at a recent show, Keiron hopes to open for him in Coventry – an ambition that feels well within reach.

Outside of music, Keiron is just as creatively driven. He’s a prolific painter, having completed over 100 works in the past 18 months alone. Nature is his biggest muse, his instrumental track “Two Beeches” was written about a pair of trees in Weekley Hall Woods where he often practices guitar. He’s also fascinated by Anglo-Saxon and medieval history, and his day job in classic literature only adds more layers to his rich creative life.

Keiron Farrow is an artist who reminds us that music isn’t a race… it’s a journey. With every chord, canvas, and connection, he’s building a legacy that’s grounded in curiosity, collaboration, and soul.

The post Keiron Farrow: Rooted in Rhythm, Evolving with Soul first appeared on Fleckies - Discover the best local events in town.

Afreine’s path into music began as an act of self-expression. Songwriting first arrived in her teenage years as a kind of therapy – a private release that would slowly evolve into something much more. Encouraged by producer Ginger Snaps and artist Viddy, she began to explore her potential more seriously. With their support, she released her debut single Clare St – a pivotal moment that marked the start of her solo journey.

Captured by Ben Browning for Fleckies Jam Sessions

While she initially performed with a full band, Afreine has since moved toward a more stripped-back setup, often just her and a piano. The intimacy of that sound allows her storytelling to take centre stage. Her songs still hold a strong pop structure but are soaked in soul and blues, with vocals that feel lived-in, sincere and stunningly resonant.

Live shows have brought some unforgettable moments. Supporting Ural Thomas at The Crawford Arms in Milton Keynes stands out as a magical experience. And industry recognition soon followed – Afreine was shortlisted for both the Glastonbury Emerging Talent Competition and the BBC Introducing Live Lounge competition in the same year. It was a clear sign she was on the right path.

Music has always been more than performance for her – it’s a lifeline. Albums like You’re a Man Now, Boy by Raleigh Ritchie helped her navigate difficult personal periods, while songs like Etta James’ I’d Rather Go Blind remain timeless sources of emotional inspiration. That same soul-deep authenticity finds its way into every note of her own work.

Captured by Ben Browning for Fleckies Jam Sessions

Afreine is deeply shaped by her environment, and the Northampton music community has been a bedrock of her development. Spaces like V&B have offered vital support for artists – encouraging creativity over commercialisation. Open mics and jam nights have helped her not only hone her sound but define her values as an artist.

After a quieter 2024, the year ahead is shaping up to be a bold return. Afreine is collaborating with a range of producers on a string of new singles, each reflecting a refreshed creative vision. Earlier this year, she joined Billy Lockett on tour – a milestone moment and a major step in connecting with new audiences. It’s clear she’s entering a new phase with purpose and power.

Her story goes deeper than music. From the age of 4 to 24, Afreine was raised in a strict religious cult – an experience that gives her music a unique emotional texture. Those years, and the resilience it took to leave, inform much of her perspective and artistry today. Now, as a wife, mother and artist in her 30s, she’s carving out her own lane – refusing to chase trends or play the game, and instead staying honest and rooted in her craft.

Captured by Ben Browning for Fleckies Jam Sessions

Outside of music, Afreine finds joy in quieter creative pursuits – like embroidery and puzzles – using those slower moments to recharge and reconnect with herself. That balance of strength and softness runs through everything she creates.

With more music on the horizon, a renewed sense of self, and a growing audience, Afreine continues to grow into one of the most exciting and soulful voices on the UK’s independent music scene. And if Clare St was the beginning… we’re only just getting to the good part.

The post Afreine: Soulful, Stripped-Back, and Powerfully Real first appeared on Fleckies - Discover the best local events in town.

Veins drop their brand-new single, Reign Down, TODAY! It’s a song that marks a turning point for the band, both musically and personally, capturing their biggest sound yet while also carrying an intensely personal meaning for frontman Stevie Rees.

A Sound That’s Bigger Than the Sum of Its Parts

From the start, Veins set out to create something cinematic – a sound that feels like it belongs in a movie. But being a three-piece and trying to balance layers of synths, strings, and intricate melodies presented a challenge.

Bassist Scott Warner explains that the band’s evolution was less about finding their sound and more about figuring out how to bring that huge vision to life. “We actually found our sound pretty quickly, but the problem was that our sound involved multiple guitars, multiple vocals, synths, and an orchestra… except there were only three of us.”

Most of their songs start with Stevie, who brings in the initial ideas before they develop them as a group. “He’ll usually have a rough idea, then we work on it together in the practice room, adding drums and bass parts. Sometimes me or Dan will come up with a riff or something that sparks a vocal melody, and then Stevie builds on that.”

For drummer Dan Appleyard, the process is a mix of live energy and studio layering. “We play everything together first and record it, then we add those extra elements – the strings, synths, all the atmospheric stuff. Live, I play to a click track, and we run those extra parts on a backing track so we can get that full sound.”

A Long-Awaited Comeback

After a string of successful gigs and releases, Veins were picking up momentum. Then, like so many independent bands, life got in the way. The pandemic, personal setbacks, and day-to-day responsibilities meant that the band had to take a backseat for a while.

Scott is quick to clarify that it wasn’t a deliberate break. “It wasn’t like we stopped; we just weren’t as active. We still played gigs here and there, but we’re a lot more focused now.”

That renewed focus has brought about a big change in the band’s setup, with the addition of a second guitarist, Luke Smith. Stevie says Luke has already made a huge impact on their sound. “The biggest difference is that we now have Luke, which means we’re less reliant on the backing track. He handles the extra guitar parts and backing vocals. We’ve only played one gig with him so far, but the feedback was amazing, and we all really enjoyed it.”

Veins: Dan, Stevie & Scott

The Veins Sound: A Dark, Cinematic Universe

Trying to pin down Veins’ genre isn’t easy. Their music is big, brooding, and immersive, sitting somewhere between alternative rock, shoegaze, and post-rock. Scott says they’ve always described it as soundtrack music. “It’s always been big and epic-sounding. Stevie has a really distinct way of writing – his chord changes and vocal melodies don’t sound like anyone else. And then there’s Dan… who just makes everything sound massive.”

Stevie’s atmospheric guitar work is shaped by bands like Sigur Rós, early Smashing Pumpkins, and Swervedriver. Scott’s basslines are influenced by Paul McCartney’s melodic approach, Peter Hook’s moody intensity, and Simon Gallup’s dark, driving energy. Dan’s influences bring in a mix of heavy and cinematic sounds, from Misery Signals and The Dillinger Escape Plan to Hans Zimmer and Anohni & The Johnsons.

Fighting for Grassroots Music in Corby

As much as Veins have made a name for themselves, they’ve done so in a challenging and shrinking local scene. Northamptonshire has always produced great bands, but venues are disappearing, making it harder for new artists to get started.

“Over the years, we’ve lost some really important venues like Sawyers in Kettering and The Zombie Hut in Corby,” says Scott. “There are still places like The Black Prince and Roadmender in Northampton, but we don’t have many dedicated venues left locally.”

Dan adds that there are still some people pushing to keep the scene alive, mentioning Sour Promotions, Jam Knights at The Ex in Corby, and Friday Connection in Kettering. “It’s just harder now for bands to meet, play together, and build something.”

For Veins, those early music spaces were crucial. Scott remembers how the local scene shaped the band’s origins. “That’s how we all met. Back in the day, we used to hang out at places like The Market Inn, Prince of Wales, and Sawyers in Kettering – venues that all had bands on. Now they’re gone. Without those venues, we probably wouldn’t all know each other.”

‘Reign Down’ – A Song About Refusing to Give Up

Veins’ new single, Reign Down, is more than just a return, it’s a deeply personal track for Stevie. Inspired by his sister’s diagnosis with neurofibromatosis type 2 (NF2), the song is about defying the odds and searching for hope in the face of uncertainty.

“NF2 is a chromosome disorder that causes tumours to scatter on the central nervous system,” says Stevie. “Every few years, one decides to grow. Reign Down is about looking for hope and positivity against the odds. A second chance in life – whether that’s a miracle cure or something else.”

For Stevie, the track was a turning point in the band’s sound. “It really set the tone for the album – its feel, its emotion. It was one of the moments where everything clicked into place.”

An Album on the Horizon & What’s Next

After years of anticipation, Veins are finally ready to release their debut album. Work started back in 2020, but with delays, re-recordings, and fine-tuning, it’s only now coming together. “We’ve been playing a lot of these songs live for a while,” says Stevie. “So people who’ve seen us before might recognise some of them.”

Scott admits he slowed things down by re-recording all the bass parts, but he’s glad he did. Dan, who’s handling mixing and mastering, says it’s sounding better than ever. “We recorded the drums at Parlour Studio, but everything else has been done ourselves. We’re really excited to finally put it out.”

With more gigs in the works, including a show at the legendary The Water Rats in London with Fourmarks on Wednesday, May 7th, Veins are looking to reconnect with fans and find new ones. Their next big show is headlining the IMP Stage at WeldonFest on May 25th, and more live dates are coming soon.

As for the future? Scott just wants the band to keep growing and get their music to the right audience. “I’m proud of what we do. I just want people to hear it.”

…and here at Fleckies we couldn’t agree more. Listen to Reign Down NOW and follow Veins on all platforms HERE.

The post Veins Are Back: Corby’s Cinematic Rockers Return With ‘Reign Down first appeared on Fleckies - Discover the best local events in town.