Amélie Farren started writing songs at twelve because she needed somewhere to put things. That hasn't changed. At 18, she writes alt-pop songs that are specific enough to make a listener feel like they're inside a moment or feeling they know well, but never had words for. She started with choral singing at eight, and by late 2022 was posting stripped-back videos online with simple settings and two blue dots under her eyes, gradually building a following around her lyrics. Her debut release, suffering, has passed 24 million streams. Unsweetened Lemonade (2024) went further, reaching over 70 million streams and finding listeners across the US, UK, Europe, Asia and South America. Not through one viral moment, but through songs that people kept coming back to. Her debut album Airheaded, produced by Michael Keenan (G-Eazy and Bebe Rexha, Melanie Martinez) in LA, is a collection of songs about obsession, complicated attachment, and the odd parallels between the person causing harm and the person on the receiving end. pickuppickuppickuppickup is written from a stalker's point of view. TREAT YOU LIKE A DOG comes from the other side of that. shiverrr, Jump The Gun and CLEMENTINE cover similar ground. "It's an accumulation of memories, experiences and conversations, fragments of night terrors," Amélie has said. "It all got wrapped up together in my head and now it's an album." Shows have moved fast. London and Paris dates in 2025 and again in February 2026 filled out. April brought sold-out headline shows across Australia. North America follows in May 2026. Amongst the headline shows, Amélie has opened for Amy Shark and Rag'n'Bone Man on their Australian tours, supported Cam on her UK tour and played with Bear's Den in Sydney. In May 2026 she has a new EP coming out, Infanescence. Where Airheaded was about what people do to each other, Infanescence is about what time does to a person. nostalgia hurts opens the EP with that specific feeling of knowing you've outgrown something before you were ready to, memories of lollipop sticks, sugar free Coca Cola, and the curfew you were already breaking. The EP sits in that gap between still feeling like a kid and knowing you're not one anymore.

Lilith Max is a master of storytelling, weaving tales of enchantment and whimsy. Her fantasy-folk-inspired music pulls the audience into a world of knights, myths, and magic, giving listeners room for their imagination to roam free. Originally from northern Germany and living in the U.S., Lilith began diving into the world of myth and folktale early on. German stories like the Erl King (Erl König) and fairytales like Rumpelstiltskin sparked her curiosity, so she incorporated their magic into her music.  Through alluring melodies, Lilith also highlights the deeper meanings in her work. In tracks like “Circe”, “Peasant’s Throne”, and “Call Down The Dragon”, the artist addresses topics of female rage, social pressure, climate change, inner struggle, and more. With catchy rhythms and deep lyrics, Lilith creates layers of enjoyment for those who wish to dance along and those who wish to hear her powerful words.  Having spent much of her teenage years in the acting industry of Hollywood, Lilith integrates cinematic drama into her stage and online presence. Fans know Lilith Max for her unique music skits and the soul-piercing expressions she casts at the camera. On stage, Lilith becomes a whirlwind of dancing and twirling, evolving her performance with every shift of the music. Lilith Max’s exceptional vocal range and vocal control are a hallmark of her music. She fills the air with angelic high notes and pulls the audience into the depths of her low timbre.   

Everyone has their own world. Fragments of moments lived, translated and understood through metaphor and storytelling. Rabbitology is the project of Nat Timmerman—a world that was pulled from her odd-running mind. A little land of the harebrained and burrowing. Venture into these eclectic soundscapes, and here you will discover a collection of memoirs turned into fantastical sonic short stories.   Strange but charming, you’ll find these songs bundled in capes of star-dusted moss, grounded in the natural world, propelled by the raw and the real. If a song takes place in the woods, then the woods the song will become; the percussion is the stomping of the leaves, the synth is a warped fox’s cry. Thus arise the stories of dread-grey skies, writhing vines, and shivering pines—stories of a magically real folk horror. The dark and ugly become beautiful here, and vice versa. In this world, there is no such thing as “black or white,” instead, everything exists together at once.   This world is for the souls who never quite fit in, who found themselves like ghosts, drifting between realms, never finding anywhere to settle. Simply follow the three-legged rabbit prints until you’re knee deep in this world’s tall grass. Here, you’re invited to rest, to dance, to create, to ideate, even if your visit is only for a little while. Stay as long as you like. Make this world your home too. It’s a little unusual in here, but that’s life!