A few weeks ago, on a warm spring evening in Bristol, I spoke with Cai Alty, Leio Hunter, and Tom Quigley of The Guest List, before their headline show at Exchange.

If you're unfamiliar, The Guest List are a 5-piece band with Manchester roots, but they don’t let the label of being a “Manchester band” confine them. After forming in 2021, their increasing presence in the live scene and on social media has seen them truly emerge over the past couple of years, propelled by tracks like 161 and Canada. Their rise has seen them supporting the likes of Blossoms and Inhaler, and with every new guitar anthem released, they remind us why they are one of the most exciting up-and-coming bands in the country.

We spoke before the penultimate show of their recent 14-date headline tour. A tour which, Cai shared, had probably been his favourite so far. “There have been some really good nights. Liverpool was really good because we played the album from start to finish. So, yeah, I’ve really enjoyed it.”

The album he referred to is their long-awaited debut, set for release at the end of August. Songs from that forthcoming album have been a setlist staple on this tour, aside from the full play-through in Liverpool. Cai and Leio mentioned that they had enjoyed getting the new songs out, and highlighted “If Ever Your Devil Is Kind” as a track that had gone down really well every night. However, when I asked about their approach to crafting a setlist, Leio suggested it’s not all about the new stuff: “We try to keep it appealing for the fans as well. You don’t want to drain them and just play new songs all the time.”

The tracklist of the album will include songs taken from their EP When The Lights Are Out, which was released at the end of last year, and continued the band’s trend of discussing slightly heavier themes through their music. When asked about his approach to writing perhaps heavier songs, Cai explained, “I think being out of your comfort zone is quite important when you write. So lyrically, that [feels] like the place to go.”

One of the tracks from that EP, “Weatherman”, has quickly become a fan favourite. It paints the image of an apocalyptic world shaped by climate change, with the anthemic lyric “should have listened to the weatherman” reflecting on what could be done to prevent that probable future. Cai had no direct intentions to write a song about climate change, but believes, “If the lyrics take that direction, and it’s something that I care about, then it feels like the right thing to do, rather than to shy away [from it].”

Cai has previously stated his desire to write songs that are “serious but not depressing”. One of their latest, “Something Real”, epitomises that sentiment exactly. On the task of striking that balance, he noted, “It is a challenge, and I find everyone wants it to be depressing for some reason. [With] ‘Something Real’, for example, if you go into politics, people very much want you to be on the nose with it. That’s not really the angle we’re coming at the whole thing from. It’s more about just enjoying the tunes.” The track opens with an instantly catchy riff, before Cai declares, “Hate is on trend / War is on trend”.

With the feeling of an instant indie classic, the song couldn’t be more timely in a world becoming increasingly dominated by algorithms and AI. It’s a song the band is clearly proud of, and they have every reason to be. “That song just felt like the centrepiece of everything that we’ve been doing recently,” Cai stated, while guitarist Leio added that with the track, they achieved a sound which feels like them. With this in mind, it came as no surprise when Cai revealed to me that “Something Real” will share a title with their debut album.

Given the themes they’ve had in mind recently, I was keen to ask the band about their attitude towards their overall image, aside from music. They have been quite inventive with several of their music videos, including a recent shoot inside some illusion rooms.

However, their desire for something meaningful was, for me, most evident in the series of artwork for their releases last year in the lead-up to When The Lights Are Out. When I mentioned this, Leio confirmed as much, saying, “With the EP singles, we tried to keep a constant theme. We wanted something that would last the test of time.” This led the band to collaborate with London-based artist Lydia Miller, who created oil paintings on canvas for three singles and the EP cover art.

A similar approach is being taken as the band looks toward their debut album. They had recently shot the now-revealed cover when we spoke, which Cai referred to as “a bit mad”. The final image came together thanks to 4 mannequins, a Stockport cinema, and the work of photographer Ewan Ogden.

The process took all day and involved putting the mannequins in every seat, then layering the photos. “I think that [it’s] quite funny because the album’s called Something Real, and people see the cover and think it’s AI, and it’s not. We actually did do that.”

The Guest List are a band for our time. Unafraid to tackle important themes in their lyrics, while having the sound to back it all up. Their debut album, Something Real, will be released on August 28th, and you can catch them on tour this autumn.

The point is, we have access to more music and film than ever thanks to streaming, but as a result, we are constantly at the mercy of these services and their tiered subscriptions, disappearing titles, and frequent price hikes.

Our lives are already dominated by algorithms, with streaming often serving as just another opportunity for scrolling, promoting consumption over experience. The arts of film and music come from a deeply human place, so why are we letting algorithms get in the way of that?

It has been two years since I bought a vinyl player, and just over one since I started building out my DVD collection. What started as just wanting to own and have access to some of my favourites has led to a bit of a revelation about the importance of physical media in our current age.

Physical media offers an experience that is non-existent in the digital world. The ritual of picking up a vinyl record or DVD off the shelf, before placing the needle down or pressing play, is a very tactile and deliberate act. One that forces a more meaningful engagement.

For example, music streaming encourages you to skim through albums, perhaps revisiting a handful of songs from each. Whereas physical alternatives allow you to sit with an album and experience it as a complete body of work, the way the artist intended.

There is also something to be said for the added experience the overall package gives you. Art always accompanies films, on the cover, inside the case and on the back. While the distinct visuals that go with an album are often just as thought-out as the music itself.

Then there’s the extras. The lyric sheets, the posters. Tangible, real things that are impossible to replicate digitally. Physical film releases also have their share of extras, in the form of bonus features on the disc itself. Often including deleted scenes and director’s commentaries, further immersing you in the world of the film even after the credits roll.

There is a commitment that comes inherently with the ritual of physical media, and could be viewed by many as its downfall. For a start, you need the right equipment and to think about storage. Then you have to go out and spend time searching for what you want, all before you can press play, which itself takes effort. So there is certainly potential for a lot of hassle and money spent.

Even then, you’re always going to be limited by what you own, which means every choice will be deliberate and dedicated. So if it’s convenience you’re looking for, streaming is still the go-to, and therefore the best option for most people. However, for me, it’s that very same commitment and effort that makes physical media special, and ultimately lends to the experience itself.

In a society where increasingly no one owns anything, ownership is one of the biggest pros of physical media. The comfort film that you rewatch every few months can and will suddenly disappear from Netflix. However, if you were to purchase a lovely disc of that film, nobody is going to come into your house and take that away from you. That disc is also never going to have minute-long advertisements during a key scene, or start playing something else whilst the credits have barely started.

That one film could then begin to represent a wider collection, built up over time, one that says something about you and your identity. A physical marker of your taste.

A library of physical media could last a lifetime, and would be an adventure in itself to curate, whether it be digging through crates of vinyl at a record store or looking through the DVD section at a charity shop. Each addition will have its own story, and you will own some of the films and music that you love. I think there’s just something romantic about that.

Attention has become the new currency; companies will continue to make decisions based purely on optimising profits, rights will continue to change hands, and our experience of film and music through these services will continue to be impacted.

So, while so much of our lives is completely digital, and our world continues to be dominated by the algorithm, physical media will continue to provide a small fight back against that. Forcing us to slow down, serving as something a bit more meaningful, something that is truly ours.

In a way, this edition has always just been an excuse to celebrate those films, so with that, here are some of our favourites:

Dazed and Confused

The 1993 cult classic is the ultimate hangout film. Written and directed by Richard Linklater, it follows the adventures of a group of teens on the last day of school in 1976.

A stacked cast featured early breakout roles for the likes of Matthew McConaughey and Ben Affleck.

Superbad

A film so familiar that it doesn’t really need an introduction. Written by Seth Rogan and Evan Goldberg, the 2007 film follows high school seniors Seth (Jonah Hill) and Evan (Michael Cera) as they aim to party and lose their virginity before they graduate, while their plan proves more difficult than expected.

A definitive noughties film, the wider cast includes Christopher Mintz-Plasse, Emma Stone, and Seth Rogan.

Submarine

Written and directed by Richard Ayoade, based on the 2008 novel by Joe Dunthorne, the 2010 film features original songs written by Alex Turner. One of the most popular tracks from the film, “Piledriver Waltz”, was later re-recorded for the Arctic Monkeys album Suck It and See.

The film itself follows 15-year-old Welsh schoolboy Oliver Tate as he pursues a relationship with a classmate while attempting to repair his parents’ marriage.

Moonlight

The story of a young man’s struggle to find himself, told across three defining parts of his life as he experiences the ecstasy, pain, and beauty of falling in love, while grappling with his own sexuality. Written and directed by Barry Jenkins, Moonlight won Best Picture at the Oscars in 2017.

The cast includes: Trevante Rhodes, André Holland, Janelle Monáe, Ashton Sanders and Jharrel Jerome.

Little Women

Greta Gerwig’s second film was an adaptation of the endlessly loved 1868 novel by Louisa May Alcott, which sees four sisters come of age in America in the aftermath of the Civil War.

With a cast that includes Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen and Timothée Chalamet, it’s hard to see coming-of-age without thinking of the warmth, growth and familial love that persists between the young women in this story.

The Perks of Being a Wallflower

When selling the film rights to his much-loved book, Stephen Chbosky ensured he was allowed to write and direct the 2012 adaptation. The story follows Charlie, who is always watching life from the sidelines, until two senior students, Sam and her stepbrother Patrick, become his mentors, helping him discover the joys of friendship, music and love.

With Logan Lerman as Charlie, the cast also includes Emma Watson, Ezra Miller, Mae Whitman and Kate Walsh.

Booksmart

In Olivia Wilde’s directorial debut, two graduating high school girls set out to finally break the rules and party on their last day of classes.

Kaitlyn Dever and Beanie Feldstein star in the lead roles in a film often compared to Superbad, but one that is just as good.

Easy A

There was a golden age for coming-of-age films between the late 2000s and early 2010s, and this is another from that time period. With Emma Stone in another one of her early iconic roles as Olive, an average high school student, who sees her below-the-radar existence turn around overnight once she decides to use the school’s gossip grapevine to advance her social standing.

The cast also includes Penn Badgley, Amanda Bynes, Lisa Kudrow, and Stanley Tucci.

Lady Bird

Naturally, several films on this list cover the period of leaving high school and heading to university, but what sets Greta Gerwig’s directorial debut apart is its focus on the complex relationships between its characters. Mainly, that of a daughter and her mother, played by Saoirse Ronan and Laurie Metcalf.

Greta Gerwig not only directed but also wrote the 2017 film, which has a wider cast that includes Tracy Letts, Lucas Hedges and Timothée Chalamet, in one of his breakout roles.

Stand By Me

Stand By Me is also celebrating its 40th anniversary this year, and for many, it is the definitive coming-of-age film.

Directed by the great Rob Reiner, the film follows four boys who embark on a journey to find a dead body, while their adventure evolves into a defining event in their lives.

Wil Wheaton, River Phoenix, Corey Feldman, and Jerry O’Connell play the four lead roles, with Kiefer Sutherland also starring.

Sing Street

A teenage boy (Ferdia Walsh-Peelo) escapes his strained family life and forms a band to impress a mysterious girl (Lucy Boynton) in 1980s Dublin.

The 2016 film was written and directed by John Carney, with the cast also including Jack Reynor, Ben Carolan and Kelly Thornton.

Rushmore

In Jason Schwartzman’s first film, and Wes Anderson’s second, he plays an ambitious teenager named Max, who quickly falls in love with a new teacher at his school. However, the situation soon gets complicated when Max’s new friend becomes involved with her, setting the two pals against one another in a war for her attention.

The film also stars Olivia Williams, Bill Murray, Seymour Cassel, and Brian Cox.

Clueless

Written and directed by Amy Heckerling, 1995’s Clueless is a timeless coming-of-age classic. The film follows a shallow, rich and socially successful high school student, Cher (Alicia Silverstone), who wants to do “good deeds”. She befriends a newcomer and decides to give her a makeover while playing matchmaker for her teachers and examining her own life.

Scrapper

A resourceful 12-year-old, who secretly lives alone in her flat in a working-class suburb of London, makes money stealing bikes with her best friend Ali and keeps the social workers off her back by pretending to live with an uncle. But when her estranged father turns up out of the blue, she’s forced to confront reality.

With Lola Campbell and Harris Dickinson in the lead roles, Scrapper was the debut feature of writer/director Charlotte Regan, and is one of several debuts on this list.

How To Have Sex

The feature debut of writer/director Molly Manning Walker sees three British teenage girls go on a rites-of-passage holiday—drinking, clubbing and hooking up, in what should be the best summer of their lives.

A film so accurate in confronting discomfort and vulnerability as a teenager. It is sadly a film that every young person should try to watch and understand, despite its ability to make you ball your hands up in anger and anxiety.

The cast includes: Mia McKenna-Bruce, Enva Lewis, Lara Peake, Samuel Bottomley and Shaun Thomas.

Boy

In this New Zealand-set film, written and directed by Taika Waititi, an 11-year-old boy gets a chance to know the absentee father he idolises, who has returned to find a bag of money he buried years ago.

Although undoubtedly hilarious, perspective is the magic of the film. Boy’s childlike imagination and hope are what he has to face to grow up, while he’s forced to deal with the consequences of idolising something not real.

Y Tu Mamá También

In Alfonso Cuarón’s much-loved 2001 classic, two teenage boys take a road trip with a woman in her late twenties in Mexico, and learn about life, friendship, sex, and each other.

The film stars Maribel Verdú, Gael García Bernal, and Diego Luna, while Daniel Giménez Cacho serves as the narrator.

Gasoline Rainbow

Perhaps a little under the radar is 2023’s Gasoline Rainbow. The film received lots of love on the festival circuit, and rightly so. Written and directed by Turner Ross and Bill Ross, the story tracks five teenagers who embark on one last adventure, 500 miles to the Pacific coast, as they make friends and memories along the way.

Ferris Bueller’s Day Off

Next month will mark 40 years since the release of Ferris Bueller’s Day Off, but the film remains a timeless coming-of-age classic.

Written and directed by John Hughes as a love letter to Chicago, it follows charismatic high school slacker Ferris Bueller (Matthew Broderick), who skips school for a day with his girlfriend Sloane (Mia Sara) and his best friend Cameron (Alan Ruck).

Besides a few exceptions, the overall sound of this playlist is mostly comprised of 00s and 10s indie. Given that all of our contributors grew up during this period, and with that being the defining sound of the time, this was naturally the only way to take things. The tracks have been loosely organised into an order, but feel free to listen however you like.

Released in 2001, Is This It quickly became an indie rock classic. Hits such as “Soma”, “Last Nite”, and “Hard To Explain” feature on an album that created an era-defining sound. The Strokes continue to evolve and experiment with their sound, most recently with their latest single “Going Shopping”, which features on their new album Reality Awaits, set to release in June, following a 6-year hiatus.

Pure Heroine - Lorde

At the age of just 16, Lorde released Pure Heroine, an album now renowned for its progressive pop sound. Its profound lyrics are all the more special when you consider she was writing them in school. The album captures the intricate feelings of being hung up on youth, and was a game-changer in a genre we are exposed to almost every day.

Definitely Maybe - Oasis

Noel Gallagher described Oasis at the time of Definitely Maybe as “like being in a rocket ship that was taking off”. Undoubtedly one of the defining sounds of the 90s in Britain, the album evokes a unique feeling, one that gives you the confidence to rule the world. It ultimately marked the start of Oasis’ meteoric rise, and is still widely considered to be their most significant work, over 30 years later.

Tourist History - Two Door Cinema Club

From start to finish, Tourist History is simply an album full of bangers, with a truly unique sound at the time of its release. “Undercover Martyn” and “Something Good Can Work” are songs that people have grown up with, and are synonymous with being in your late teens and early 20s. The UK indie icons have continued to release great music, but this remains their defining album. Two Door feature at some of Europe’s biggest festivals this summer in celebration of the album’s 15th anniversary.

The Stone Roses - The Stone Roses

Before the era of Britpop, there was Madchester. New Order, Happy Mondays and Inspiral Carpets were heavy hitters in the scene, alongside The Stone Roses, whose self-titled debut album rounds off our list. The late Gary ‘Mani’ Mounfield’s iconic basslines run through an iconic album that continues to inspire up-and-coming bands all over the world.

Think of your favourite album or film. Everything that went into making it would have originated through an artist's talent, skill and lived experience. This simply cannot be replicated by generative AI, only imitated. For me, that makes the work it produces completely sterile and uninteresting.

Not everything is a task to be completed; some things are as much about the process as they are the final product. Generative AI is the answer to creativity for people who aren’t creative. Seth Rogan spoke recently about using AI to write, stating, “If your instinct is to use AI and not go through that process. You shouldn’t be a writer, because you’re not writing. Go do something else.”

This month, the Academy of Motion Picture Arts and Sciences updated its rulebook to specify that only acting “demonstrably performed by humans” and writing “human-authored” will qualify to be nominated for an Oscar. As much as these things should really be a given, it’s still refreshing to see a line drawn by those in a place of creative authority.

Although this issue isn’t just about AI in the making of music or Hollywood films, it also concerns the small, everyday human moments and expressions that we will lose.

Generative AI is increasingly sold to us as “the future” and “inevitable” by fear-mongering enterprises or people trying to convince us to change or be “left behind”. These are often stated as reasons in themselves for its adoption, without any tangible benefits actually being suggested. Which, coincidentally, sounds like an advertisement for every useless product ever made. Despite this, it continues to become more integrated into our society.

We have reached a dangerous crossroads where we are unable to distinguish what’s real from what isn’t. We have to second-guess almost everything. It can be very overwhelming to look around, particularly on the internet and see how much is AI-generated; it’s almost dystopian. I suppose that if there is any positive to be taken, it has made me appreciate the human-made things that much more.

In many creative and adjacent industries, AI usage is becoming a measure of quality. Human craft and a respect for the creative process will signify a more premium product. We are seeing this come into play recently, with Apple posting several behind-the-scenes videos to support campaigns. Ultimately, people appreciate authenticity, and this appreciation will likely increase as the AI problem worsens.

There’s nothing like reaching the end of a project you have put so much thought, time, and effort into, no matter how big or small. As humans, we are meant to find things hard; that’s what makes things rewarding. What happens when you wipe that out, when everything we do is easy?

Leave the creativity to the humans; it’s what we’re good at. Every great film, book, or song has been made by real people, and there’s something special in that.

The show itself took a few missteps, cutting off some acceptance speeches in favour of prolonged comedy bits. However, the night overall felt like the celebration of the past year in film that the Oscars should always strive to be, and what a great year it was. As Paul Thomas Anderson said at the BAFTAs:

Here are some of the highlights from the night:

Ryan Coogler Wins His First Oscar

The award for Best Original Screenplay went to the man behind Sinners, and it is truly his movie. Inspired by the blues and set in 1930s Mississippi, Sinners draws on some of Coogler’s personal experiences.

It was good to see that Coogler would definitely go home with a well-deserved Oscar for the film. There is no doubt that he will be back to pick up that directing award in the near future; he is still only in his 30s and only getting better as a filmmaker. The success of Sinners should ensure he will be able to make whatever he wants.

3 Time Oscar Winner Ludwig Göransson

Coogler has continued to work with a close group of peers, including longtime friend and collaborator Ludwig Göransson. The pair were roommates at university, and Göransson has scored all of his films, including Oscar-winning work for Black Panther and now Sinners. With their latest film being so musically strong, this win felt somewhat inevitable.

Göransson is also a regular collaborator of Christopher Nolan, and his work on Oppenheimer is what earned him his second Oscar two years ago. With The Odyssey set to be a huge release this summer, Göransson could stand a real chance of back-to-back wins.

Autumn Durald Arkapaw Becomes the First Woman to Win an Oscar for Cinematography

Having become the first woman of colour to be nominated for Best Cinematography, Autumn Durald Arkapaw made further history as the first woman ever to win the award. This marked a long-overdue milestone for women in film that should encourage further recognition in the future. During her acceptance speech, Arkapaw asked all the women in the room to stand, stating that she wouldn’t be where she is without them, a touching moment that was met with huge applause.

After falling in love with test footage, Arkapaw and Coogler decided to shoot exclusively on film, using two different camera systems during a challenging production. Sinners marked the first time that a film has combined the 70mm IMAX and Ultra Panavision 70 formats.

Michael B. Jordan, the Most Popular Winner of the Night?

With so many great performances in 2025, including standouts such as Jesse Plemons in Bugonia, not even nominated, Lead Actor was perhaps the most open race of the night. Despite not being heavily tipped throughout the year, it was his first nomination and first win for Michael B. Jordan for his performance as twin brothers Smoke and Stack in Sinners, and he proved to be a hugely popular winner.

In addition to the obvious technical challenges of playing two characters in the same scene, a crucial part of Michael B. Jordan’s Sinners performance was clearly differentiating the twins, something that the film itself hinges on. Jordan has described his meticulous preparation, including writing detailed diaries to understand backgrounds and perspectives, and while filming, he wore different-sized shoes for each character to help define their physical movements and mannerisms.

A Win for Weapons and a Record for Amy Madigan

Best Supporting Actress was another unpredictable category heading into the Oscars, with the Golden Globes, BAFTA Awards and Actor Awards all having different winners. Amy Madigan picked up gold on the night, having already set a new record for the longest gap between nominations for an actress.

Although Madigan as Aunt Gladys was an instantly memorable performance, this was another win that was not widely predicted when Weapons hit cinemas last August and can certainly be seen as a big victory for the horror genre.

Jessie Buckley Sweeps

There was one category throughout awards season that did feel wrapped up from the very beginning, and that was Best Actress. Jessie Buckley’s performance in Hamnet was nothing short of spectacular. Having already claimed gold at the Golden Globes, the Critics’ Choice awards, the BAFTAs and the Actor Awards, Buckley became the first Irish winner of Best Actress at the Oscars. In her acceptance speech, she dedicated her win to “the beautiful chaos of a mother’s heart.” Fittingly, the ceremony took place on Mother’s Day in Ireland and the UK.

PTA Finally Gets His Oscar

Going into the ceremony, Paul Thomas Anderson had 14 Oscar nominations to his name without a single win. Those nominations have come over the course of almost 30 years for films such as Boogie Nights, Magnolia, There Will Be Blood and Phantom Thread. We often see the Academy award those who are “overdue,” whilst the work itself is perhaps not up there with the recipient’s best. For example, Martin Scorsese won for The Departed despite being nominated for Goodfellas 16 years prior. There is no doubt that PTA should have had an Oscar in his hand before now, but there is a very compelling case to be made that One Battle After Another is his finest work.

Paul Thomas Anderson picked up the awards for best adapted screenplay, best director and best picture on the night.

One Battle After Another Wins Best Picture

It’s always nice when a widely agreed film of the year goes on to win Best Picture. In the case of One Battle, it is truly one of the films of our time despite being written over the course of 20 years. PTA has said it felt like he was waiting for Chase Infiniti to make the film, having reportedly taken 8 years to cast the role of Willa with casting director Cassandra Kulukundis, who is now also an Oscar winner. Chase Infiniti landed the role after 6 months of callbacks, which included karate classes and shaving Leonardo DiCaprio’s face. In her first feature, she delivers a truly amazing performance that helps to deliver the emotional arc of the film.

When picking up his award for adapted screenplay, Paul Thomas Anderson said:

With the Oscars excitement over, the book is closed on this year’s awards season. It has been a truly incredible year for film. However, Cannes is just over 6 weeks away. The dust will settle quickly; it won’t be long before it all starts again, and from what we know already, 2026 promises to be another great year.

You may notice the Glastonbury-sized hole in the calendar this year, the festival is taking a fallow year to let the natural environment recover and regenerate. We think you’ll be just fine though, there are plenty of stacked line-ups on offer this summer.

Join us as we run you through our favourites ahead of the UK’s famous festival season.

Wolf Alice picked up their second Group of the Year win at the Brit Awards in February, and after taking their award-winning new album The Clearing around the world, they return to where it all started. The group will play Finsbury Park on the 5th July, with support from The Last Dinner Party, Keo, Florence Road and more. The North London quartet have been on an upward trajectory since the release of their debut album My Love Is Cool, and with the success of their latest release, this homecoming feels like more of a victory lap.

TRNSMT returns to Glasgow Green this July, with another eclectic range of artists. The festival has seen its fair share of iconic sets since it arrived in 2017, and has quickly become a standout name on the UK festival calendar. Headliners across the weekend include Richard Ashcroft and Kasabian, before hometown hero Lewis Capaldi closes the show on Sunday. Other acts include Loyle Carner, Sonny Fodera and festival icons Two Door Cinema Club, who are celebrating the 15th anniversary of their hit debut album Tourist History. TRNSMT showcases one of the strongest line-ups across any festival this year, with more artists yet to be announced.

Eden Sessions is truly the only event of its kind in the UK. The Eden Project, where the event is held, is a world-renowned educational charity focusing on sustainability, biodiversity, and climate change education. Since 2001, the project has held Eden Sessions, a series of live music events held in the heart of the project. Previous line-ups have seen the likes of Paul Weller, Oasis and Florence and the Machine. It’s held in high regard by many, including The Evening Standard, who describe the event as “the nearest you can get to watching a gig on the moon.” This year’s offering includes Pixies, Wolf Alice and CMAT amongst others, with dates spanning across June and July.

Manchester is often hailed as the music capital of the world, and since 2013, Sounds of the City has helped hold that reputation down. The Castlefield Bowl has previously hosted performances from Noel Gallagher, Sam Fender and New Order. This year the event runs from early-to-mid July, and sees Wet Leg, Johnny Marr, The Streets and more take to the stage. The event’s unique inner-city setup is hugely popular amongst Mancunians, with many also travelling in from afar to see iconic acts over the years.

All Points East has quickly become a major event in the capital since its launch in 2018. Held over two weekends in August, each day tends to cater to a different genre, making it much easier for fans to choose when to attend. This year will see Tyler, The Creator make history as the first artist to headline multiple days of the event, on Friday 28th & Saturday 29th. Other lineup highlights include Jorja Smith, Lorde, Djo, and Brit Award-winning PinkPantheress.

Since the early 2020’s, the iconic three stripes of adidas have been everywhere you look. The brand has become a staple of everyday streetwear, having experienced a huge resurgence in the popularity of its classic footwear models. First with the Samba, and then followed by the likes of the Gazelle and the Handball Spezial. A revival charged by the simple versatility of the shoes. Anybody could wear them with anything. Even today, they may not dominate conversation in the way they did a couple of years ago, but the shoes are still on everyone’s feet.

Following this success, adidas has aimed to relight the fire of another iconic shoe with the Superstar model. In February, they launched a campaign which Annie Barrett, Vice President of Marketing at Adidas Originals, said will “continue to show the relevance of [the] sneaker across music, fashion, sport, and art.” An aim which seems to be shared across the entire Originals range. The Spring/Summer Superstar campaign features stars like Olivia Dean, and at its centre is a film directed by Thibaut Grevet, starring Samuel L. Jackson. Proving the brand’s desire to operate across industries, while influencing and celebrating culture.

The Superstar was originally created for basketball, but many of the Adidas silhouettes have their roots in football culture, including the Samba, the Gazelle and the Spezial. Football has always influenced fashion, but in recent years, a direct correlation has surfaced.

Streetwear brands like PLACES + FACES, Drama Call, and Y3 are securing partnerships with some of Europe’s biggest clubs, Arsenal, Manchester United and Real Madrid. These collaborations have produced several groundbreaking campaigns and helped introduce audiences to a world where regular partnership between football and streetwear is possible.

To gain a deeper insight from within the industry, we wanted to speak to someone who is truly tapped into the topic of discussion, and who better than Jordan Clarke, CEO and Founder of Footballer Fits. Since the project started in 2020, Footballer Fits has become a driving force behind football and fashion culture, and is the leading platform advocating for athlete self-expression on and off the pitch.

Why do you think the cultural fusion of football and fashion works so well?

“I think football and fashion work so well together because football is a game of self-expression. When [people] are playing it, they want to have fun, they want to try things, they want to be creative. That then ties into how people dress, [and] the music people listen to, so the culture as a whole really connects with football in that way, I think. The coolest football players on the pitch are usually the coolest off it as well, so I think there’s that element of confidence that sort of aligns between the two.

Recently, where the clubs and leagues are getting involved in the fashion space, I think [because] the cooler they make their jerseys look and the cooler they make their leagues look, the higher revenue they’re bringing in. With the rise of social media, everyone wants to make content, everyone wants to look cool, [and] everyone wants to be the best dressed in their friend group.

Naturally, as the most-watched sport on the planet, the game has long been a staple of pop culture and has always had its trailblazers. The likes of Beckham and Baggio spring to mind in eras gone by. However, through social media, it has never been easier for players to connect with fans and express their personality away from the field.

Footballers are more comfortable than ever in sharing their personal tastes online. Why do you think that is?

“There [are] more platforms, there [are] more people, more audiences demanding that sort of content now. So, with the rise of social media, brands covering athletes and what they wear, including ourselves as a shameless plug there, I think that [means] the players are more well-received when doing it compared to 5, 10 years ago, when players having interests outside of the game was a no-go, it was all-in on football, [bad] results meant players had to go quiet. I think now we’re evolving into that basketball, [more] American culture where athletes are supported for their personalities and self-expression off the pitch.

So with that growing demand…from young football fans to connect with their favourite athletes, I think a lot of people are now seeking that over the performances, over the highlights…because [fans] can feel a real connection to the players themselves when they dress like them, walk like them, talk like them, listen to the same music.

Obviously, not everyone can relate to being a professional footballer, so seeing the human element to the players through the rise of social media has been massive in that.”

adidas have always been a giant in both football and fashion, but recently it seems as if they’ve taken a lead over their competitors. What is it that they do so well?

“I think what adidas is doing best right now is humanising their athletes. The likes of Nike, etc. have stopped their football push in terms of signing athletes [compared to the] days when they had Neymar, Ronaldo, etc. all under one roof. Now, it’s very much brand-focused or product-focused. Whereas I think adidas is continuing to sign the coolest players in the game, telling their stories and also putting the players before the product. The interest is in the players, so the campaigns hit more, the retention rate is higher…and then in turn you actually end up promoting the product more. So, for me, I think it’s really key that adidas is promoting their athletes first and humanising them.”

“I also think adidas is doing this across multiple sports, with Anthony Edwards, [which] is a huge one. The campaigns they are doing with him in basketball are just like football, really, really cool and again [it goes] back to that point of humanising the players so people can connect with them, and if you connect with the player then you connect with the product they’re wearing.”

On March 20th, adidas unveiled the official away kits for all 25 of their partner federations, including the 13 nations who qualified for the 2026 World Cup. The designs pay homage to each nation’s unique culture, with references to their architecture, landscapes and history, whilst simultaneously reinterpreting classic adidas aesthetics in a modern, contemporary style. In addition, the shirts feature the iconic adidas Originals trefoil logo for the first time in 36 years.

Japan’s away strip is brought to life through its compelling visual identity. The design features 12 distinct colours, combining to represent the collective bond of the nation, on and off the pitch.

4 years on from their triumph in Qatar, World Cup holders Argentina receive a kit that draws from their rich artistic heritage, featuring a distinct swirling blue graphic pattern inspired by the nation’s traditional motifs.

Spain’s away jersey design taps into the nation’s illustrious literary history. It features an intricate all-over pyrite colour pattern, inspired by the drawings and graphics found in classic books and manuscripts.

As part of the global launch, adidas hosted an immersive event in Los Angeles, bringing together athletes, creators and cultural figures from football, music and street culture. Taking over the Lower Grand Tunnel in Downtown LA, the brand turned a traditional kit launch into a high-energy street party. The night featured a performance from Kaytranada and a headline show from Baby Keem, transforming a usual standstill of cars into a vibrant celebration of culture.

We are certainly set for another summer of the three stripes on people’s feet and football shirts being worn as fashion items. The only question is how does the crossover between streetwear and football culture evolve next.

After thanking his mother first and foremost, Chalamet went on to say, “I can’t downplay the significance of this award because it means the most to me, and I know we’re in a subjective business, but the truth is I’m really in pursuit of greatness. I know people don’t usually talk like that, but I want to be one of the greats. I’m inspired by the greats. I’m inspired by the greats here tonight. I’m as inspired by Daniel Day-Lewis, Marlon Brando, and Viola Davis as I am by Michael Jordan, Michael Phelps, and I want to be up there. So I’m deeply grateful. This doesn’t signify that, but it’s a little more fuel. It’s a little more ammo to keep going. Thank you so much.” Unsurprisingly, opinion was divided instantly with strong feelings on both sides. It simply wasn’t something we were used to seeing. The almost guaranteed acceptance speech script had not just been changed but ripped up.

Chalamet’s references to sporting legends were indicative of the nature of the speech itself; it felt like something that would usually be heard at a post-game press conference. We know he’s a sports fan, he hasn’t been supporting the Knicks so animatedly for nothing, and it’s clear the influence sporting culture has had on him. However, there are some key differences that opened Chalamet up to criticism. In sport, it is (mostly) all about winning, and the difference between winning and losing is black and white. That’s not the same in the arts. Awards season is a chance to celebrate great work, but ultimately there are winners and losers. However, the main distinction is that art is subjective; there are no black and white answers as to who was better. Simply winning does not define greatness within film and there are countless examples of actors who are considered greats that have never won an Oscar. Not to mention the working actors who will never be fortunate enough to even be in the room. So if greatness is Chalamet’s primary desire, some of the criticism and cries of arrogance sent his way become valid, but I don’t think that it is.

For many, including myself, the speech was refreshingly sincere and a welcome break from some of the fake humility we are accustomed to. Acknowledging the award as a motivator rather than an apex and illustrating his desire to work hard in order to be mentioned alongside those big names are arguably examples of the humbleness people claimed was lacking. However, it was the sense of passion and motivation that was infectious, and those two factors led to the speech leaving a particularly inspirational feeling. He didn’t claim Oscar gold in the end, but what became clear was that this wasn’t just an isolated moment but a sign of things to come from Timothée Chalamet.

Half a year later, having spent the summer making a small film in the desert with Denis Villeneuve, he was back on the promotional trail. Debuting a new buzz-cut look while being surrounded by orange ping pong balls, it didn’t happen subtly. Having tested several guerrilla-style marketing tactics and stunts while promoting A Complete Unknown, Chalamet refined that same approach and took things to a completely new level in the run-up to the release of Marty Supreme. He became the face and spearhead of a campaign which embodied the spirit of the film itself. The campaign produced one of the most in-demand fashion items of the year while also featuring a rap music video. On paper it wouldn’t have made much sense, but it worked, and created a feeling around the film that ultimately led to it becoming a huge event, particularly amongst younger audiences.

Timothée plays Marty Mauser in the film, who is not someone to be idolised. However, using that character’s energy as a vehicle to promote the idea of going after the things you want to achieve, while feeling unashamed of being seen to try really worked. Having spoken about becoming more well-rounded as an artist, treating the promo with the same importance as the performance itself, it does feel like the Marty Supreme era gained Timothée Chalamet a new level of support. In fact, much of the film’s audience was made up of casual or even non-moviegoers.

Just as many looked unfavourably upon his SAG speech, it’s clear that again this approach has not been for everyone. On a couple of occasions he has given fuel to those critics, particularly when he spoke about his belief of the quality of his recent performances. There was some debate as to whether that was a character moment, but either way it crossed the line into overconfidence. Perhaps something that was inevitable given that at times he was operating so close to that line.

However, there is no doubt that with every appearance promoting Marty it genuinely felt like he was putting his all into it, and not only is that authenticity again refreshing, it continues to feel like something people are really connecting to. In a world that doesn’t always feel like it’s built for younger people to succeed, there’s definitely a frustration, but equally a desire to make something for ourselves and to reach for our aspirations. I think it’s that same feeling being echoed by Chalamet that is really generating a response, and him going and doing it just elevates that further.

I think it’s undeniable the experience of filming A Complete Unknown and Marty Supreme back to back had an impact on him; he’s said as much himself. I also don’t think it’s a coincidence the SAG speech happened shortly after Marty had wrapped, given that film and character particularly are somewhat reflective of his own career and desires.

Hollywood is often a million miles away, and Timothée Chalamet himself is extremely fortunate to be in the position he’s in, but he shows an attitude that suggests he is aware of that and choosing to make the most of the opportunities he has been afforded. He certainly doesn’t play it safe. During a recent Q&A, Ben Affleck said of Chalamet, “I don’t think there’s any need to apologise for trying to do something great. Nobody ever did anything great just accidentally.”

Some will no doubt misinterpret all this as Chalamet being a new face for toxic hustle culture, but he isn’t that. This is a theatre kid after all. He has simply become a face for trying, for showing up and unashamedly giving things your all.

Timothée Chalamet is nominated for Actor in a Leading Role alongside Wagner Moura, Michael B. Jordan, Ethan Hawke and Leonardo DiCaprio at the 98th Academy Awards, which take place on the 15th March 2026.

There aren’t many words to describe the hard-work and raw talent it takes to produce such a plethora of work, so consistently, for such a long time, but I’ll try.

I first discovered Moses’ work in early 2023 and even then, I felt late to the party. By that time, he had his foot well in the door and was preparing for the launch of his debut exhibition “Regina”. From then, the ball kept rolling and we’re now at a point where it feels disrespectful to label his rise as ‘meteoric’ due to the volume of creative output that got him to this position, but it sure feels that way.

Often when celebrating an upcoming artist, we reference collaborations with multiple household-name brands as a way to understand the scale of their success. Whilst GM has this in abundance, I can’t help but feel it’s the sheer quality of his work that propels him forward.

The artist partners with Instagram for ‘Ask it Anyway’, a sit-down talk series that has previously hosted music powerhouses Fred Again.. and Tyler, The Creator. Sat before a group of aspiring creatives in NYC, the director, photographer and filmmaker discusses his early career, the creative process and how he stays true to his vision.

NY based actor and writer Aspen Narain asks Moses at what point young artists should feel comfortable expressing their opinion in the creative process, to which he responds:

When discussing his early career, Moses recalls a time where he was “the target audience and the director at the same time.”

This certainly explains the cult following that GM seems to have amongst young creatives, he produces work that they resonate with on a deeper level and for that, he is appreciated. Furthermore, his presence in the heart of pop culture can’t be denied, his work with the likes of Skepta, Rihanna and Travis Scott play a huge part in his collection of imagery.

The artist goes on to explain that if he can walk into a room, be modest, have good manners and still produce the same great work, it will help towards changing the narrative surrounding young people in the creative industry. These words are certainly backed up with action. To me, it seems as if he feels a sense of responsibility to make the journey easier for those that will come after him.

Twice in two years, GM has joined forces with Nike to launch the Gabriel Moses Educational Programme, a two-day seminar covering topics including but not limited to: Creative Partnerships, Campaign Ideation and Culture as Commerce, with a group of young creatives.

“I come from a place where a lot of people don’t try. We’ve been told this is how we’re meant to live, this is our ceiling - and a lot of people don’t try.”

In a wider sense, there’s definitely been a shift in mentality in terms of, creating things and trying to build something for your own interest has become cool again. Not that it was necessarily un-cool, but the general reaction to someone trying to better themselves or work on a ‘side-hustle’ was a negative one. It won’t work for everyone, but more people are trying and I think that will always be cool, no matter what.

GM tells the youngsters that they should perhaps have more trust in the internet to take their ideas into the places they desire, with my favourite quote of all:

Whatever comes next for Gabriel Moses, it’s refreshing to have an artist who isn’t afraid of connecting with fellow creatives and sharing truly priceless knowledge. On this trajectory, it’s hard to see a world where he doesn’t become a ‘great’, much like those he looks up to.

The photographer and filmmaker concludes the interview with, “You get out what you put in.”

For me, it’s one of those interviews whereby after listening, you just get that feeling. One similar to when you watch a great film for the first time, or listen to a great album. That surge of motivation to do the thing you’ve been putting off for a while. It definitely motivated me and it’s probably the reason this article has been published.

You can watch the full interview on YouTube here.

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With 001, we have chosen films that explore the themes of ambition and chasing dreams.

For 001, we have selected a mix of tracks. Some that align with the themes explored, and some that were simply the soundtrack to creating this project.

Listen to the playlist on Spotify:

In addition, we felt that in 2026 culture is moving faster than ever, and there can be a lot of noise. Most of what we see and hear are simply fleeting moments, moved on quickly by the machine to make room for the next thing. Leading to a bit of a disconnect at times.

So in that spirit, we wanted this project more broadly to be one that celebrates interests and passions, encourages a more personal connection to them, and serves as a platform to dive into the diverse range of topics that encompasses.

With these ideas in mind we began to work on a concept. It has taken several months of hard work to get to this point, during which the project has taken on many forms. Now it becomes real as Frontrunner, a digital publication that explores and celebrates Film, Music and the wider arts. Created for and by young people.

With work from a range of contributors, each new edition will be loosely anchored by a central theme and will cover an eclectic array of subjects, If we think it’s cool, we’re going to cover it.

So we launch today as something small, but encouraged by the fact that you can simply start, and see where things take you. It took us perhaps too long to get to that point of realisation, so if anything what we would like to celebrate with this first edition are the ideas of starting, and chasing ambitions.

Frontrunner 001 is now live.

We encourage anyone to submit original work, or to pitch us an idea.

Email us at contact.frontrunneruk@gmail.com or send us a message on Instagram @frontrunner.uk