Melancholic from minute one, “Cold Regret” is a stark encapsulation of the sobering feeling of lamenting how things have turned out. The mood is introduced by the sharp guitar chords and cemented by the melodically harsh harmonica, and by the time the softly sombre vocals come in, the coldly tragic atmosphere is set.
Simplistic in its composition – with low-key bass and a slow thumping beat – “Cold Regret” is hummable to no end, and the sensational quality of lyrics like “I hate the way it wraps around my neck” make the song endlessly relatable.
There’s nothing to regret about listening to “Cold Regret”
The gritty rhythm, bouncy bassline, snappy drums and dual vocals make “Where We Come From” an instant earworm – and that’s before Savvy starts rapping. The cold flow of the verses, lamenting the growing rifts between the local community, is a stark but raw display of pain presented in his trademark “Savvy” lyricism.
Wood’s vocals provide a beautiful contrast that cleanly segments the verses from the chorus, as well as emphasising the soulful instrumental with her melodic vocal pads. Community spirit is evident not only in the non-judgmental lyrics but in the sharing of this deeply personal track with another, creating something which transcends both artists individually.
“Where We Come From” is the unifying anthem that all local communities deserve.
Thumping, bleeping and grand – “Socialism” is an incredibly varied track with a grand journey through various instrumentals including acid bass, cowbells, and one Daft Punk’s worth of synth.
With a minimalist style that focuses on maintaining a constant mood, “Socialism” is never overwhelming to listen to, but it carries an undeniable momentum that never loses your attention. It also isn’t afraid to be grandiose, using every tool in the kit, and when those moments hit, it feels like the unveiling of a space pope.
A hype builder through and through – “Socialism” earns its spot as Bobus’ introduction in their 2025 Live Set LP
Smokey and sensual, with a groove straight out of the 70s, “Superstar” is a collaboration that works on every level. The low vocals provided by Ruby Wood swirl into the smooth, bubbly bass and trumpet accents to make a rich sound that’s the audio equivalent of red wine.
“Superstar” is a song about the fantasy of dating a superstar, and the lyrics are filled with a sort of quiet awe that speaks to the head-spinning notion of that premise – though given Wood’s extensive touring and sellout Wembly Arena and Manchester Apollo performances, it’s fair to say she’s the superstar in the relationship.
“Superstar” is R&B at its finest – an easy-listening jam that’s hard to dislike.
Desperate and clawing, caught between hopeful and hopeless – “don’tRUSH” is a deeply moody experience. The broken vocals bouncing between speakers and rumbling bass contribute to a tangible dark ambience that meshes seamlessly with the uplifting choral harmony, perfectly conveying the conflicting joy and fear of love, and the contradictory euphoria of it.
Thumping percussion, shredded vocal stings, and driving rhythms make “don’tRUSH” a sensory delight, evocative of nighttime drives and pounding hearts. The aesthetic of “don’tRUSH” is immaculate – laden with resonant symbolism and raw emotion.
“don’tRUSH” is definitely going to “stay with me tonight”
Sugary and chill, “Shadow Dancing” is a warm window on a cold night – self-conscious in the best way possible. The sweet, poetic, and slightly obsessive lyrics about watching a boyfriend’s window and wondering what he’s doing are painfully relatable – and the soft melodic vocals deliver them in a comforting dose of reassurance.
“Shadow Dancing” also happens to be a bop – just as fitting in a club as in a pair of earphones under a blanket. The soft piano drones, snap-click beat, low-key bass, and electronic bleeps make it seem a second “Dancing On My Own”
Do you feel sad sexy? Well, “Shadow Dancing” certainly does.
The first thing you’ll notice about “Charlie Sheen” is that killer hook sang against a choral melody that’s immediately inviting. Then, the blaring bassline comes in, riffing like a punk-rock “Walk Like an Egyptian”, you start humming the punchy vocals, and suddenly, you have a brand new earworm.
“Charlie Sheen” was featured on BBC Introducing (Leeds and Sheffield), and it’s easy to see why. Thumping, bassy, and ever-shifting – “Charlie Sheen” is an unapologetic riot with a very crunchy guitar. The lyrics – a declaration of being flawed but perfect – are snappy and memorable, complementing the hard riffs especially when the dual vocals kick in.
Gritty and gratifying, “Charlie Sheen” is an instant mood lift for alt-rockers and begs to be heard live.
The surfer vibe is well and truly at home in “I Scream Headache.” A crowd pleaser through and through, with moments clearly made to be screamed in a live audience, this tongue-in-cheek song is pleasantly energetic and irreverently fun – made even better by the surf-rock warbles and pitch bends.
The lyrics are particularly evocative, telling an urban-legend-style tale of a demon ice cream man trading souls for “sweet, sickly” ice cream that makes “everybody lose control”. The manic, train-rattle guitar riffs are hard to resist tapping your foot along to, as are the crashing symbols of the chorus – and the song gets bonus points for using the word “saccharination” in a completely fitting way.
The reverence Zero and the No-Nos has for the 50s rings loud and clear with this spooky, fun track that’s as sweet as ice cream but without the brainfreeze.
What has 2025 looked like for you? This year has been a year full of change. For me, finishing at CAPA college just before summer and then beginning to visualise where I stand outside of the education system in the next academic year before looking at the future and university or drama school in 2026, has been exciting and overwhelming all at once. I’ve performed at my first ever festivals, the main stage in Todmorden, two slots at Holmfirth and at the Garforth Summer Jam, it’s really felt like my music has taken off. My writing has developed enormously and I really look forward to showing what has become of me and my music in each and every performance I do.
How did you first get into music? I first got into music through my parents both being exceptionally musical. I grew up with them playing together, my mum on the whistle and my dad playing guitar. Both sing as well, and with that influence on top of their love of folk music, I don’t think there could’ve been a world where I wasn’t as invested in music as I am. I started off playing the piano and did a couple of grades before getting ill with CFS/ME when I was 11. Gradually I began to feel well enough to play again and started playing what I wanted to instead of just what I was supposed to because of the exam. My dad taught me to play four chords on the guitar and I practically never put it down afterwards. It wasn’t long before I started to write about my thoughts, feelings and experiences.
What was the process for creating your sound? I think for a lot of people at first it’s really easy to pick somebody else’s sound that you admire and want to sound exactly like them. I know at the start I’d listen to a lot of music by American artists and so would pronounce certain lyrics using that accent. I made the conscious decision that actually that wasn’t me or what I wanted my music to sound like, as I was so passionate about it being a true and genuine expression of who I am. I’ve definitely learned a lot about sounding unique, and I find I always sound the most like me when singing music I’ve written myself.
Who was your biggest inspiration? I’ve had many varying people that have inspired me. My top artist is Noah Kahan, with his deeply personal lyrics and folk influence I’ve always seen a bit of what I strive for in him and his music. On a more personal note I think the people in my life that have supported me and believed in me inspire me to write and perform, even if I’m doubting myself.
Which song best represents you musically to date? This one’s a tricky one! Because the song that I want to say is an unreleased song I wrote named Burnt Bridges and Made Amends. I wrote it after a friend I trusted hurt me deeply, I’ve always thought it captured a very raw very painful part of me that I think can only happen by accident. On “The Water and The Trees” it may be cliché but the title track really caught the way I felt about how short life is and the importance of not dismissing that the things you say you want to do might not always happen and so make the most of it. As well as the song being purely my voice and guitar, it will always hold a special place in my heart.
Which song has been the easiest / hardest to write? There have been a few life events that have happened that have just spilled out songs with ease because of the intensity of which I have experienced the emotion of them. I sometimes write songs within 10 minutes and sometimes it can take months to finish. Sometimes I go into a bit of a haze, like with Words Wrapped up in Lies, I don’t even remember the process of writing the song it just sort of happened and I was left with it afterwards. I remember playing it to some friends at the time fully formed as it was on the album the same day I finished it. I would say that the hardest song was Bliss Of Being Alone. I had about 8 different versions of choruses and prechoruses and verses and don’t even get me started on the time and effort it took to make the decisions as to which lyrics and version of the song I liked best. I’m definitely happy with what I ended up with there though.
Which song is “the one” that turns listeners into fans? I think when I play my music live, especially now, over a year after my album released. The way I perform certain unreleased songs gets people invested. I think the excitement I have about them bleeds through to the songs and the performance. I can’t wait until I can record and show the world some of these newer songs. I do find that once people have heard The Water and The Trees, they tend to take me a bit more seriously than before though!
Do you have any favourite quotes/sayings? I wouldn’t say there’s anything that massively springs to mind. Although in one of my songs, Indentations (unreleased) I have a lyric that says “I said if you value it truly you shouldn’t need it to always go your way”. And although it may be a very hypocritical statement, I do think it’s really beautiful the idea that you don’t need to control everything for it to be valued and appreciated.
What does the future of “Eve Joné” look like? I honestly think I’m in a bit of a state of limbo in terms of my future. There’s no doubt I’m going to keep making music and performing whenever anyone will have me, but I’m looking at higher education and moving out, as well as thinking about what the future of releasing music will look like for me. No decisions are 100% made but I’m happy knowing that my music isn’t going anywhere and I will make sure to keep playing, performing, writing and hopefully releasing my music for anyone that wants to hear.
What are your next steps to get there? My next steps definitely involve looking at the music I’ve written since my album came out and preparing the songs and myself to have a think about recording and which songs make the cut! It’s also important to me to get out there as much as I can and perform, as that’s what it’s all about really.
Chaos! I released my second album, “He Called Hex”, at the start of the year, and that whole thing feels like an entire lifetime ago. Since then I’ve pretty much been juggling working on this new album on and off with many, many, Uni deadlines, as I’m just now going into my final year as a music student. I’ve also taken on some of my first soundtracking jobs, been playing in our band Nuclear Fishing, produced some songs for other artists and, in my few minutes of non-musical spare time, have recently been getting into watching anime for the first time. So musically speaking it’s been a lot, and that’s not even counting keeping my own personal life in order! But I’m at a point now where I’m absolutely on fire with making and promoting my music and am just so excited to put all this stuff I’ve been working on out into the world.
How did you first get into music?
I had piano lessons from a pretty young age, which gave me the majority of my background in theory – however, I never really had too much knowledge or interest in producing my own music as a whole until the 2020 pandemic hit, and I was trapped inside with nothing better to do. A friend and I wanted to make some crappy Soundcloud rap as a joke, so I downloaded initially Audacity and later FL Studio to help facilitate this, essentially teaching myself how to make trap through YouTube tutorials. As time went on and I got more to grips with the ins and outs of actually producing music I started to realise I could try and develop a sound of my own, and eventually picked up the guitar and started writing more demos. Probably my first fully realised song using my voice didn’t come until “Weightless” (featured on my first album) in 2023, at which point I knew it was something I wanted to embrace.
What was the process for creating your sound?
So building on that a lot of my early works spawn from a weird cross section of influences – my piano writing, which leaned more classical and soundtrack-music inspired, my production skills which leaned more towards modern hip-hop and my songwriting itself which gravitated towards emo and other left-field online singer songwriter-y stuff. On my first album you can hear all those sounds kind of thrown at a wall at random since, while I’m still really proud of that record, I’ll admit I didn’t exactly know what I was doing! At this point, the influence of a lot of fifth wave emo and similarly online rock and shoegaze began to take ahold of me, and you can hear me trying to emulate these very noisy and chaotic mixes. Only on my more recent material, like on Hex, have I been able to wield these influences with a bit more intent. It’s also helped that I’ve spent a lot of time improving my skills on guitar and finding tones and mixing techniques that I like for the instrument – although, I should say, my next album maybe strays away from the guitar a bit more than the last couple and veers back towards the piano, so to an extent it’s like I’ve come full circle.
Who was your biggest inspiration?
Honestly, it changes every month, but I think the artist who really inspired me and pushed me to start writing songs for myself was Parannoul. I massively admire how his early albums were somehow made entirely in the box, with his vocals recorded on an old Samsung phone, and yet it’s some of the most emotionally raw and compelling shoegaze music out there. I know I’m not alone in taking influence from him, but the fact he was able to make such a resonant record on such a shoestring budget is a testament to how far music production has come in the digital age, and really convinced me that maybe I can do it too. I have so many online generation artists to thank for this kind of inspiration; Asian Glow, what is your name?, acloudyskye, Vylet Pony, even P.Rosa who I collaborated with on my last album – there’s an incredible wave of creatives who started out as just kids writing songs in their bedrooms and again it’s impossible to hear some of this music and not be desperate to write your own.
Which song best represents you musically to date?
Maybe “Softly, Softly”, one of the non-album singles I put out during the summer – I think it’s maybe one of my most direct songs, but it encapsulates a little bit of everything that I’d done up until that point. It’s got a dark and gloomy atmosphere, some super noisy yet blissful guitars, tortured vocals and lyrics and even some of the weird left-field electronics, all packaged into a little bundle under 3 minutes.
Which song has been the easiest / hardest to write?
There’s a song on my next album called “Ever Turning Field” which is by far the hardest song I’ve ever had to put together for a number of reasons; not just because it’s 8 minutes long or so but also because it’s a massive dirge of emotions that I still haven’t quite managed to wrap my finger around. It’s the one time in my career so far where I’ve put together a song that’s larger than life – it feels like I’m trying to confront something unknowable throughout that song, which I hope will make sense within the context of the record when it eventually comes out.
Which song is “the one” that turns listeners into fans?
I’d like to think my new song “I’ll Be There”! Maybe it’s recency bias, but I feel like people who might have been curious about or enjoyed elements of my music in the past, maybe even people who didn’t like my last album, can hear it and get the impression that this is Kit Le Bihan 2.0 so to speak, and that now’s the time to really start taking note of my music. It’s why I think it’s a perfect single – it’s got elements of my first 2 albums, but a new layer of tenderness and clarity that I think maybe they lacked at points.
Do you have any favourite quotes/sayings?
“…even if something is a lie, even if it’s fiction… If it has the power to change the world, then it must contain some kind of truth. Aren’t we proof of that?” – Shuichi Saihara
What does the future of “Kit Le Bihan” look like?
Aside from my own university deadlines, I’m currently hard at work putting the finishing touches on my next album, which will come out in 2026. I started writing it sometime towards the end of 2024, and had envisioned it to be my “rock” album, but as time went on it actually ended up being my most electronic and piano-leaning album yet! I feel like every record is a bit of a left turn for me, but all I want to say is be prepared for something different, something more gentle and yet more emotionally intense, something brighter and yet more heartbreaking. Oh, and some more weird genre combinations – there’s bits of synthpop, EDM, indie rock, folk, even a bit of glam. I’m also really hoping to play some more live shows – I did one which was streamed live on the Live forever twitch and had such a great time doing it, so I really think I’d like to try and carve some opportunities to play my songs a bit more in the live space in person.
What are your next steps to get there?
Lots of work and promotion! It’s no secret that it’s always gonna be hard to carve out a niche for yourself as an indie artist, but I really think I can build on the steady growth I’ve had this year and do something really special in 2026.
