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.
What was it like to be a student studying music whilst also trying to get your name out there in the industry? – How has studying music affected your musical understanding?
From when I studied music in college, I found my coursework was a great way to motivate myself to build my skills in both performance and production. However, coursework was extremely overwhelming, and I struggled to find the time to work on my solo project whilst also working hard for my grades. I wouldn’t change my choice to have studied music, though, because it’s helped me to raise my understanding of composition, the art of performance and has helped me gain a lot of musical connections.
What got you into making music and specifically folk music?
I’ve loved music from a very young age: I have memories of dancing around the room singing ‘Sabbath Bloody Sabbath’ with my dad from when I was two years old, to learning to play ‘Song from Bridget’ with my mum on the ukulele when I was around 7. Singing and performing mean the world to me, and if I could do it every day, I would. I’m not quite sure how I’ve ended up making folk music, as the majority of what I listen to is rock and pop with a lot of other genres in the mix. I’ve found folk to be the only music I’m able to write freely without thinking too much about it and how it’s going to work with other instruments; it’s just me and my guitar.
Who are your main musical influences?
My musical influences change a lot, but my main ones at the moment have got to be Sofia Isella, Ok Goodnight (specifically their vocalist Casey Lee Williams) and Seb Lowe. All create very different sounds, but all are absolutely incredible music.
Have you got anything in the works right now that we can expect soon?
I have a few pieces of work at the moment, but how soon we can expect them is a different question. I produce and record everything at home right now, and, with my limited knowledge and skill with production, I’m struggling to get anything finalised to a standard that I think is acceptable. With regards to producing at home, I find writing is the easier part, although it’s still pretty difficult. I’ve got several songs that haven’t seen the light of day because they’re incomplete or just aren’t up to my usual standards. Recording is fun but extremely hard work and I need a lot of motivation to manage to get any done; the actual recording part is fine but getting the best take and then all the editing afterwards as well as trying to compose extra instruments is so difficult and more days than not I just give up, leaving behind a project until I can come back to it with fresh ears.
What is the story behind your song ‘Love betrayed me’?
‘Love betrayed me’ is honestly quite funny, the more time that passes since I wrote it. I was in a very bad place and struggling with communication in my relationship at the time. I got it in my head and wrote this just a day after I thought everything had finally become clear, my anxiety overwhelming me and leaving me feeling like I couldn’t breathe right. This song became an expression of my anger and was almost like my voice of reason, trying to snap me out of the little delusions I’d trapped myself in. ‘Love betrayed me’ is a reality check up until the last chorus. A drastic change to the first two lines, flipping the song from a rational place of rage to one of hope and longing, almost childlike in a way: “Do you love me, do you love me not? Because I’m getting sick and tired of all these anxious thoughts.” Honestly, I could ramble on about the way I interpret my songs for hours, especially this one. I love getting to analyse writing and go over the potential meanings because a lot of the time, I still haven’t fully understood what I was writing about, or even better, the meaning of the song changes with time, and I get to look at it in lots of new ways.
What does performing your music mean to you?
Performing, in my experience, can be almost euphoric, especially if I’m feeling confident about my setlist. I’m usually extremely nervous and pessimistic before I go onstage, but once I’m there, I’m having such a great time getting to sing my heart out. Whether it’s covers or originals, in a band or on my own, I have so much fun performing, and I would love to get more opportunities to be able to do it much more frequently.
What’s next for you?
I have absolutely no idea what’s next for me. I’m trying to figure out everything all at once for both my personal and musical life. I hope that I’ll get to perform a lot more gigs, write hundreds of songs and release them (with good quality production of course), but I know I struggle to stay motivated and have been in a slump with anything musical for months now, but I’m hoping to bounce back soon. Ideally, I’ll be better than ever when that happens.
The Parish in Huddersfield, known for its intimate, energetic atmosphere, was the perfect crucible for the sonic fireworks delivered by Ibibio Sound Machine on Friday night. It was an evening that started in soulful reflection and exploded into a joyous, sweat-drenched dance party, proving once again that the best nights out are those where the walls feel like they’re breathing along with the crowd.
Support: Hannah Rowe—A Local Star Shines Bright
Leeds based and Kirklees Most Wanted alumni Hannah Rowe set the bar high, proving exactly why she’s generating so much buzz. Trading the massive festival stages for the confines of The Parish, Rowe’s powerful, soulful voice filled every corner of the room. Drawing heavily on her jazz and soul influences, she delivered tracks like the reflective “Bellevue” and the massive “Waistcoat” with an emotional depth that belied the venue’s small size. Performing with a scaled down outfit from her normal 10-piece band they managed to create a sophisticated, layered soundscape that was both rich and intimate, providing a perfect, locally-sourced dose of warmth before the main event.
Headliners: Ibibio Sound Machine
When Ibibio Sound Machine took the stage, the vibe shifted instantly. Led by the magnetic Nigerian-British vocalist Eno Williams, the eight-piece group immediately plunged the packed room into a mesmerizing blend of West African highlife, post-punk electronica, and pure 80s synth-funk.
Williams is an unstoppable force of nature, narrating in the Ibibio language (often translated in real-time through her movements and sheer energy) while commanding the stage. The band’s setlist, featuring fan favourites like “Electricity,” “The Chant (Iquo Isang),” and the hypnotic “Protection From Evil,” was a masterclass in controlled chaos. Each song was a vibrant, polyrhythmic workout, driven by the relentless, propulsive basslines and the swirling, retro synthesizers that give the band its distinctive electronic edge.
The Parish’s relatively small 300-capacity room amplified the intensity; there was no room to stand still. By the time the band launched into the irresistible call-and-response of “Fire Fire Fire, Higher Higher Higher” the floor was a unified mass, hands in the air, echoing the sheer joy radiating from the stage.
The Huddersfield crowd’s embrace of the band’s global sound was a testament to the universal language of rhythm. Ibibio Sound Machine didn’t just play a gig; they curated a transcendental experience that lifted the spirits and left everyone feeling like they’d just participated in something primal and necessary. An unforgettable show, cemented by the raw energy that only a venue like The Parish can provide.
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 🎧
So this one time while practising in our tiny rented mill space, we came outside for a smoke break and were met with a flaming industrial sized skip, the flames reaching 20-30ft high…
We try to make this process as organic as possible, as we know we all have our own distinct individual styles that we like to nurture as much as we can, so that it shines through in each song and gives us a sound that is hopefully distinctly ‘Lomens’.
Generally speaking, one of us comes to rehearsal with a very loose idea, whether that be a vocal melody, a guitar riff, a chord progression on the synth or even just a groove with drums and bass
We then most of the time sit on that idea and jam it together as a band and see where it takes us. Sometimes it naturally forms itself into a song very quickly. Unplug the Earth was like this, for example! Sometimes we can spend weeks/months exploring lots of possibilities and really refine each section as much as we can.
The main thing is just trying to keep things as organic and fun as possible!
Who is your biggest influence? Now this is always a tough one as we’re all pretty nerdy with music, ha! What we get compared to isn’t necessarily what we listen to, and we all listen to quite an eclectic mix of music!
Vocally, Chris (lead vocals) takes a lot of inspiration from bands like Everything, Everything and Kid Kapichi. Some of us are pretty big fans of Radiohead, and there’s some Muse thrown in there too, a little bit of Prog as well, Porcupine Tree, TOOL, Leprous, The Mars Volta, Deftones.
Jordan (Drums) tends to have a raw attitude towards the drums, where he can, early Nirvana and The Melvins spring to mind, but again, the eclectic taste comes into play, and there’s also some Latin and Samba influences, especially coming from Tom! (Synths & Percussion)
These are just some influences that spring to mind, but as we’re all just massive music fans in general, it tends to make for some interesting jams and songwriting; we wouldn’t have it any other way!
Do you have any pre-gig rituals? We tend to try to run the set in our studio on the day, get ourselves nicely warmed up, a couple of pints and seeking out some cool food doesn’t go amiss!
What’s the best gig you’ve ever played? This is a difficult one; we’ve not played that many yet in the grand scheme of things, as we’ve only been active just over a year. There have been 16 gigs in that time, and we’ve played 3 headliners in that time (Parish, Huddersfield), Oporto, Leeds, Grass Fed 1 at Picturedrome, Holmfirth), so it would have to be one of those; they’ve all been equally fun and with some great supports!
What’s next for you guys? Write. Write. Write. We only have 4 singles out, and we just need to get more music out there! We’ll still be playing some shows in between, but the focus is definitely on increasing our repertoire and output. Expect an EP after our next single. We also have a Headline show at the new Parish space, Amped! on Mad Friday (December 19th) with support from Pageant Mum and Slipped Disco, that will be a big end-of-year party and a great way to see the year out!
How would you describe your new single, ‘Kinetic Currency’? Big! Our most out there song to date.
It’s got a punky edge to it with some proggy elements interspersed throughout. Also, a screamer of a riff at the end! We’ve recently been able to get our bassist, Josh, onto guitar as we’ve welcomed a new member on bass (Andrew Parkinson), so we’re now a 6-piece dual guitar assault on stage!
Kinetic Currency is an observational anthem told through the lens of a working-class person in Britain in 2025. Through some vivid lyrics and striking imagery, the song captures the struggle to rise above the noise of modern life’s complexities, seeking simplicity whilst desperately trying to avoid unnecessary confrontation and stress.
We’ve kept it politically neutral, presenting observations without aligning with any cause. It’s simply what we see on a day-to-day basis, whilst most people are skint yet forever being bombarded with grandiose political movements and news cycles, whilst simultaneously struggling with the normality of everyday life. It’s not a commentary; it’s an observational piece about the everyday rat race of Modern Britain. We invite people to find their own meaning and use their own lens to establish their relationship with the song.
LOMENS is for everyone.
Kinetic Currency, is out now on Spotify and many other major streaming platforms.
