After gigging up and down the country, Simon Walker eventually caught the attention of major artist Yungblud, earning himself a coveted spot at the UK festival Bludfest. This breakthrough marks a significant moment in Walker’s growing career, bringing his music to a much wider audience and cementing his reputation as an emerging talent to watch. With a track as striking as In Your Eyes, it’s no surprise he’s stepped into the spotlight.
The song carries an uplifting, inspirational message, encouraging listeners to embrace who they are without apology. Walker reminds his audience that individuality is something to celebrate and that choosing to be different is a strength rather than something to hide. Rooted in the indie-pop genre, the bright, melodic production and shimmering instrumentation perfectly complement the track’s hopeful spirit.
The standout lyric “be who you want to be” reflects Walker’s dedication to creating music that spreads positivity and reassurance. His ability to blend meaningful themes with catchy, accessible songwriting allows In Your Eyes to resonate deeply with listeners, offering both comfort and motivation. It’s this combination of authenticity, emotional honesty, and musical charm that continues to fuel his rise in the UK music scene.
Originating from Holmfirth, Yorkshire, The Laikers are an upbeat indie-pop band renowned for their lively performances and distinctive sound. They not only play great covers but also write their own music that really shows who they are as a band. Their new track, “Faker,” focuses on the idea of being let down by celebrities who pretend to be something they’re not. It’s a song about betrayal, disappointment, and trying to figure out who you can actually trust.
The track leans into an indie-rock style, built around a strong, catchy guitar riff and powerful vocals that give the song a real sense of impact. The energetic drums and clear production help the track feel bold and direct, matching the message of the lyrics. Overall, “Faker” shows how The Laikers can mix meaningful themes with a punchy, enjoyable sound that sticks with you.
“The DF” by Dean Antoniis a thoughtful and emotionally resonant track that blends introspection with a gentle sense of movement. Rooted in a modern singer-songwriter style, the instrumentation creates a warm and steady backdrop for the story being told. Soft guitar or piano lines sit beneath subtle atmospheric layers, giving the song an open, spacious feel that allows the emotion to come through clearly without ever becoming overwhelming.
The lyrics focus on recovery from addiction, adding even more depth to the track. Antoni’s vocal delivery carries a sense of vulnerability and honesty, as if he’s working through the lingering weight of past struggles. There’s a bittersweet tone in his voice—reflecting the pain of what he’s been through, but also the cautious hope of moving forward. The pacing is unhurried, allowing each line to settle and providing space for the emotional gravity of the subject matter. Subtle harmonies and gentle rises in the arrangement highlight moments of reflection, strength, and uncertainty. The track ultimately feels like a quiet statement of resilience. It captures the complicated process of healing—acknowledging the darkness while still choosing to grow beyond it.
The lyrics focus on recovery from addiction, adding even more depth to the track. Antoni’s vocal delivery carries a sense of vulnerability and honesty, as if he’s working through the lingering weight of past struggles. There’s a bittersweet tone in his voice—reflecting the pain of what he’s been through, but also the cautious hope of moving forward. The pacing is unhurried, allowing each line to settle and providing space for the emotional gravity of the subject matter. Subtle harmonies and gentle rises in the arrangement highlight moments of reflection, strength, and uncertainty. The track ultimately feels like a quiet statement of resilience. It captures the complicated process of healing—acknowledging the darkness while still choosing to grow beyond it.
Carol not only plays in many other bands but tours solo with just her and her piano (a powerhouse duet). Carol was born with only seven fingers and yet defies all with her empowering music. Alongside her band, they write songs that tackle challenging topics like mental health. The Carol Hodge Band are a joyous and feisty Alternative Rock four piece (drums, bass, guitar, keys), who were recently described by Classic Rock magazine as “”combin(ing) fat, fuzzy guitar grooves with splashes of synths…clever proggy pop rock bursts and almost Alice In Chains-y shadows…eccentric and unpredictable, in a way that feels totally natural.”” They are confirmed for quite a few festivals in 2026, including: Bearded Theory, Rebellion Punk Festival, Ey Up Mi Duck and Nah Then.
Their song ‘Small Crumbs’ is about not accepting the crumbs of life and searching for the self-confidence to expect more. Thick, heavy bass opening sets the vibe for the track from the very first note. As well as this, the strong female vocals are empowering to the listeners and emphasise the theme of the track beautifully. The lyricism uses metaphors to inspire their listeners not to accept less than they are worth.
The First Ones are made up of brothers Doug and Dan, along with their lifelong friend Will, who have been writing together for six years. As a band, they’re known for their blend of pacy metal, catchy riffs, and melodic harmonies, creating a sound that’s both intense and memorable. Their dark, prog-inspired energy has a way of drawing listeners in, leaving them mesmerised and always wanting more.
Reverie is an alternative rock track that explores the delicate tension between reality and illusion, capturing the feeling of drifting in and out of clarity as the mind wanders between what’s real and what’s imagined. The lyrics describe how it can be hard to escape your own mind at times, and how we sometimes need support from others to help us face those inner struggles. The result is a track that feels emotionally honest while still carrying the band’s signature power and atmosphere.
Huddersfield-based rock band Knuckle are a perfect example of the kind of talent that thrives in West Yorkshire. Known for their raw energy and sharp sense of humour, they bring a refreshing edge to the local music scene. Their track “Sick at the Fair” is a punchy punk anthem that blends witty, comedic lyrics with tight, hard-hitting rock instrumentation. The song tells the story of a date at the fair gone hilariously wrong, capturing the awkwardness, chaos, and unpredictability of modern dating.
Through its vivid storytelling, the track paints a clear and relatable picture of what it feels like to navigate romance today, complete with miscommunication, unexpected mishaps, and the kind of embarrassing moments you can laugh about later. The driving guitars and upbeat tempo give the song a lively momentum, while the playful lyrics add a sense of novelty that sets Knuckle apart. By the time the chorus hits, you’re left both headbanging and grinning, fully caught up in the band’s unique mix of humour, honesty, and punk-rock charm.
SAMH are a Huddersfield-based act founded by singer-songwriter Sam Hodgson. Their unique sound is characterised by “Organic lyrics with trance-like repetitive rhythms and psychedelic overtones,” described as feeling like a “lucid dream,” and drawing influences from artists like Pink Floyd and Radiohead. Samh has built a cult-like following through notable performances at festivals like the Edinburgh Fringe and Tramlines, while garnering radio support from BBC 6 and Radio X.
“Animal” by SAMH mixes folk, singer-songwriter, and psychedelic sounds to create a raw, energetic track. It’s driven by steady, repetitive guitar parts, while the rough, natural vocals make the song feel personal and honest. The melody is easy to follow and sticks with you, letting the message take all the attention. As the song goes on, the rhythms become stronger and more intense, giving it a lively energy. Overall, the musical style of “Animal” blends simple folk ideas with emotional vocals and powerful lyrics to create an engaging and impactful song. The theme of the song surrounds humanity and how self-obsession & materialism counteract the basics of humanity and human values.
How did you get into making music? – What started it all for you?
I naturally learnt to play drums when I was in year 7, and that just developed. When I was about 12/13, I massively got into the Beatles. I had a few downloaded songs on my old phone, such as Hey Jude and the No.1 album. When I was 14 (2017), my dad had an old Casio digital piano and an old Beatles songbook, which had the music of the Beatles in it. I remember trying to play Hey Jude and individually studying the notes with my dad just to get the first “hey Jude” and the F chord. For the amount of work it took, it wasn’t worth it. For weeks after, I kept playing little bits of notes and coming up with tunes and melodies. Weeks turned into months, and months turned into years. I never had any piano lessons, as I couldn’t afford them and learning to read music when I had already taught myself my own way just didn’t sit right with me. Eventually, these melodies I came up with developed into more complex note patterns, which were basically chords. I then remember googling the notes of C major and minor, etc., as I did music GCSE, I wasn’t completely unaware of this. I realised that a C major chord is the same as all other major chords and minor chords, whichever note they are. What I’d do is study how many notes are between each played note there are and apply it to any note on the keyboard. Eventually, I learned all chords, and then around 2019, I started to get better at writing tunes. Ever since, I have written full-blown songs and just kept practising and perfecting them constantly. Just having a pure love and a near-obsession with music made me constantly play and sing stuff which became songs.
What does your songwriting process look like?
I pretty much always start with the music. This involves just playing random chord patterns on the piano, which is usually GarageBand on my iPhone when I’m out and about, and on my piano at home and sometimes on my guitar, which I also taught myself. This involves playing chords and just whistling tunes; it’s all subconscious. I just whistle whatever comes out; I never really think about it, just whatever comes naturally to me. A lot of the time, instead of whistling, I’ll just sing random lyrics, and if I like them or they stick, I’ll keep them. Lyrics have never been my strong point, and so they sometimes require more conscious work. To be honest, playing my keyboard is also slightly subconscious; I sort of just think, “What will happen if I play this and then go there after?” Whenever I write a song, it’s all experimental- it’s just trying stuff out, just hearing and feeling how it sounds and if I like it. The whole process of writing music for me is a feeling. If it feels good and sounds good, it’s good. I do have a reasonably good self-taught understanding of music theory, but I never think “I need to follow it”. Just like, for example, how Card Factory starts in F major and modulates to G major for the “Card Factory” lyric and the rest of the song, almost adding excitement to being in a card shop. I think you do need an understanding of music theory and how keys relate to each other though, or else songs can just be bland. If a painter wants to be truly creative, they need to have a very full palette of colours. It’s the same way, I believe you do need a musical understanding because it does help you write. After crafting the music, which is the chords and melody and sometimes lyrics, I’ll then tweak and adjust, change and usually need to add more lyrics.
Who are your main influences?
I was brought up on The Beatles from both sides of my family, and I have a fond memory of my grandad and me singing along to them. They got me into playing the piano and guitar, and music in general was fully opened up to me because of the Beatles. After that, I massively got into the Beach Boys (mainly Brian Wilson) and the Pet Sounds album, which boosted my songwriting inspiration from coming up with some cool tunes on the piano to writing and producing proper songs. My dad has always been into Mozart, and only in the last year or so have I actually become massively into Mozart’s music. Another massive influence is Mac DeMarco, who I discovered in 2020 and whom I recently saw in one of his concerts in Manchester.
How would you describe your song ‘Card Factory?
I was in Card Factory around August 2024 with my girlfriend Kate. We were in there for a good 15 minutes while she was looking for a card for someone, and I got my GarageBand keyboard out on my phone and just started playing chords and singing as I was getting bored. The lyrics and chords and tune literally came all at once. I hadn’t even thought about it. I just started playing and singing, and the whole song came out straight away. At first, I was laughing at the spontaneity of it and playing it to Kate, who was getting embarrassed about me singing a cheesy song about the Card factory while in the card factory next to her. It was a very funny and fun experience. When I later recorded and produced the song at home, I hadn’t really changed anything; it was basically a copy of what I had just come up with while out and about in the card factory. It’s not really about anything apart from literally being in a card shop. It’s a very laid-back and obviously un-serious track.
Is there an album in the making that we can look forward to? If so, what’s the vibe?
I spend most of my time working on projects with my songwriting ‘partner’ and best mate, Jack. Our duo is called ValleyBoy and is totally separate from my own solo work. We’ve finished an EP that will be out soon, with proper artwork called ‘This Little Town’. It’s a very serious piece of work and at the moment is my main focus. It’s set around the decline of Northern towns and industry and is quite political and socially focused. I don’t know what you’d call the genre though. I’d link it in a category similar to what Pink Floyd, Bowie, and slightly, the Beatles are in, maybe? I’m not sure, though. We’re also looking for band members to join ValleyBoy who can play with us live, as we haven’t even done any gigs yet or anything aside from a few open mics at Northern Quarter. Aside from this, I do continue to write my own solo work as well and may potentially be releasing an album of mostly done material, but it probs won’t be for ages. I don’t know when the time is right, even though it’s basically almost done.
What’s next for you?
My girlfriend Kate has nearly finished a lovely and extremely creative animated music video for Card Factory, which she has drawn and used stop motion for. We just need to finish the last few seconds of it, so that should be out very soon. I hope also to soon be performing with a full band for ValleyBoy and have the EP released, and hopefully it’s well-received and known about. I will also keep releasing stuff under my own name.
The Wilson’s Republic WRXL event, which celebrated a decade of fostering creative community with the theme of ‘Routes,’ culminated in an absolutely electrifying private afterparty at Amped in Huddersfield.
Seamlessly transitioning the day’s inspiration into a night of community and celebration, the party was curated by us, transforming the venue into a powerful showcase for local talent. Attendees were treated to a diverse and gripping line-up that kept the energy high well into the night. Highlights included the beautiful, honest songwriting of Good Good Blood, the alluring and soulful sounds of vocalist Hannah Rowe, and the complex, yet highly danceable, Psychedelic Rock fusion of Don Gonzo. The celebration reached its peak with Therealdemo, a staple of the West Yorkshire scene, spinning classic and new Funk, Soul, and Hip Hop that kept the floor moving.
Take a look at the Highlights from the event below;
More than just a concert, the afterparty was the perfect, vibrant finale—a powerful demonstration of the collective spirit of the Northern creative scene and a truly triumphant way to cap off Wilson’s Republic’s 10th-anniversary celebration.
Additionally take a look at the highlights from the day event at Bates Mill featuring six speakers from different creative disciplines, they delivered heard honest, inspiring and beautiful interpretations of the event theme ROUTES.
Missed WRXL? Don’t worry – we’ve got the soundtrack. A little gift from us to you.
If you couldn’t make it (or just want to relive the event), we’ve got an official WRXL playlist – featuring the incredible artists who brought the afterparty to life.
Plug in, press play and keep the WRXL energy going 🎧
