Summer is doing that strange British thing again — the calendar insists we’re still in July, yet the shops are already pushing woolly jumpers like they know something we don’t. Maybe they do. Maybe they don’t. Either way, we’ll keep our feet planted firmly in the present and enjoy what’s left of the season.
A long‑time reader got in touch this week with two history‑soaked festivals worth mentioning. The 140th Durham Miners’ Gala, held on 11th July, remains one of the world’s great celebrations of trade union values and working‑class life — a living, breathing reminder that solidarity isn’t just a slogan. And down in Dorset, the Tolpuddle Martyrs’ Festival honoured six men who dared to organise for fair pay in 1834, only to be arrested and transported to Australia for seven years. Their courage still echoes.
We’ll return to both festivals in future features. For now, let’s get back to the music — and this week’s list is a wonderfully odd mix of the hypnotic, the heavy, the nostalgic and the downright iconic.
Angine de Poitrine – ‘Sarniezz’
A masked Quebecois duo who look like they’ve escaped from a surrealist cabaret and sound like they’re broadcasting from another dimension. Angine de Poitrine emerged from Montreal’s underground art scene, blending electronic pulses with theatrical absurdism. ‘Sarniezz’ is hypnotic, looping, and slightly unsettling — the kind of track that feels like performance art disguised as music. They’re weird, yes, but compellingly so.
Anonymous Ulster – ‘PADDY (Blair Mayne)’
A tribute to Lt. Col. Blair “Paddy” Mayne — one of the most decorated soldiers in British military history and a founding member of the SAS. Anonymous Ulster’s track is raw, proud and steeped in regional identity. It’s part folk‑punk, part battlefield ballad, capturing the mythic aura surrounding Mayne while refusing to sand down the rough edges.
Down ‘N’ Outz – ‘Rock and Roll Queen’
Joe Elliott’s side project pays homage to Mott the Hoople with swagger and affection. Down ‘N’ Outz formed as a love letter to 70s glam rock, and ‘Rock and Roll Queen’ is a reminder of how gloriously messy, loud and joyful that era could be. It’s a celebration rather than a reinvention — and sometimes that’s exactly what a song needs to be.
Natalie Imbruglia – ‘Torn’
A 90s classic that refuses to age. Originally written by Ednaswap, ‘Torn’ became a global phenomenon when Natalie Imbruglia recorded it in 1997. Her version — shimmering, vulnerable, and quietly devastating — turned her into an international star. It’s one of those rare songs that captures emotional disorientation with perfect clarity.
Motörhead – ‘God Save The Queen’
Lemmy covering the Sex Pistols is exactly as chaotic and brilliant as you’d expect. Released in 2000, Motörhead’s version is heavier, faster, and somehow even more confrontational than the original. It’s a meeting of two titans of British counterculture — punk’s sneer and metal’s roar colliding in glorious fashion.
Dolly Parton (featuring Ladysmith Black Mambazo) – ‘Peace Train’
Dolly Parton covering Cat Stevens is already a treat, but adding Ladysmith Black Mambazo elevates the track into something transcendent. Recorded for her 1996 album Treasures, this version blends Appalachian warmth with South African choral richness. It’s hopeful, expansive, and proof that Dolly can inhabit any genre she touches. As big Dolly Fans we are looking forward to seeing The Dolly Parton Story at the Edinburgh Fringe 2026!
Elvis Presley – ‘If I Can Dream’
Recorded in 1968 in the wake of Martin Luther King Jr.’s assassination, ‘If I Can Dream’ is Elvis at his most earnest and politically engaged. Written specifically for his ’68 Comeback Special, the song channels gospel, soul and raw emotion. It remains one of his most powerful performances — a plea for unity delivered by a man rediscovering his voice.
The Sensational Alex Harvey Band – ‘Delilah’
A theatrical, swaggering reinvention of Tom Jones’s classic. Alex Harvey’s version, released in 1975, turns the song into a rock‑cabaret fever dream — dramatic, tongue‑in‑cheek, and utterly unforgettable. It’s a reminder of how fearless and eccentric Harvey was as a performer.
The Smashing Pumpkins – ‘1979’
A nostalgic masterpiece from the band’s 1995 album Mellon Collie and the Infinite Sadness. Billy Corgan wrote ‘1979’ as a reflection on suburban adolescence — the drifting, the boredom, the fleeting moments of freedom. It’s dreamy, understated, and remains one of the band’s most beloved songs.
They Might Be Giants – ‘Boss Of Me’
Best known as the theme for Malcolm in the Middle, this track is a perfect example of Ska‑Punk’s upbeat fusion of brass, guitars and controlled chaos. They Might Be Giants have always been delightfully off‑centre, and ‘Boss Of Me’ captures their playful, clever energy in under two minutes.
Bonnie Tyler – ‘Total Eclipse Of The Heart’
A towering 1983 power ballad written by Jim Steinman, whose theatrical style suited Bonnie Tyler’s husky voice perfectly. Born Gaynor Hopkins in Skewen, Wales, Tyler became known as “Britain’s First Lady of Rock.” This song — dramatic, soaring, unapologetically huge — cemented her place in music history.
Warning – ‘Footprints’
A cornerstone of British doom metal. Warning’s 2006 album Watching from a Distance is revered for its emotional weight, and ‘Footprints’ is one of its most devastating tracks. Slow, deliberate, and drenched in melancholy, it shows how doom metal can be as introspective as it is heavy.
Songlist Specials – themed collections exploring particular scenes or eras:
