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WorkWestside Cowboy: It Goes On
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Just three years after forming, Manchester indie rockers Westside Cowboy announced their first LP, It Goes On.
 
Released via Island Records, the band embraced imperfection in the lean debut – blends the wide-open myths of American country music with grey British realism — a stylistic mix the band calls “Britainicana”.

To mark the release, UNCLE brought poetic realism to the streets of the UK, with 4-sheets across London, Liverpool, Manchester and Sheffield, ensuring this rising indie rock band landed loud and clear.

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FeaturesBig People Music: Children of Zeus on street soul, joy and life as the world burns
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Before Children of Zeus were making “big people music”, they were children listening to it.

On the pirate stations Tyler Daley and Konny Kon heard growing up, a “big people party” meant exactly that: a night for adults, and one they were far too young to attend. The parties may have been beyond their reach, but the music was not. Soul, reggae, lovers rock and hip-hop reached them through their parents, radio shows and tapes recorded from the airwaves.

Among that music was street soul, a distinctly Black British sound which emerged from inner-city bedrooms and small studios during the mid-to-late 1980s. Its artists took inspiration from American soul and R&B but made it theirs. Hip-hop drums, reggae basslines, lovers rock sweetness, drum machines, synthesisers and sometimes pleasingly unpolished vocals. Records were self-funded, pressed onto white labels or recorded to cassettes, and carried between record shops, pirate stations, house parties, bars and clubs.

It was music made outside the mainstream, but not without an audience. Street soul offered love, closeness and escape against a backdrop of economic pressure and inner-city life. The bass might have been heavy and the production raw, but the sentiment was tender.

Although its history has frequently been drowned out by louder retellings of acid house and the Haçienda, Manchester had one of the country’s strongest street soul scenes. Its lineage runs through groups including 52nd Street and Fifth of Heaven, the voices of Diane Charlemagne and Denise Johnson, and records such as Bô’vel’s underground classic Check 4 U. As lifelong Mancunians, Children of Zeus make what Tyler describes as “modern-day street soul.”

A decade on from their debut single Still Standing and five years on from their second album Balance, their third album, As The World Burns…, continues that lineage while responding to a particularly anxious present. Its title acknowledges the fires burning globally, but the music searches for something else between them: sunsets, good food, slow jams, weed, rum, love, laughter and good company.

The record is not presented as a grand political solution, but an example of joy as resistance. Like the street soul that reached Tyler and Konny when they were children, it celebrates and archives the beauty of moments. Moments that require a fitting soundtrack.

The only difference is that now they are the ‘big people’ making it.
IT’S BEEN FIVE YEARS SINCE BALANCE. WHY DID THIS ALBUM TAKE FIVE YEARS, AND WHAT TOLD YOU THAT YOU WERE FINALLY READY TO PUT ANOTHER CHILDREN OF ZEUS RECORD OUT?

Tyler Daley: When you’ve never put anything out before as Children of Zeus, it’s always easy. The second album took us a bit of time, but this third time around we didn’t want to come back and put out just anything. We’ve still been together, touring and working on music; we just haven’t put out an album. We hadn’t had a collection of songs that felt like the right album until now. We didn’t want to throw anything out. The fans have been loyal to us, so we owe them good music.

Konny Kon: Between us, we’ve put out quite a bit since the last album: productions, remixes, vocals on other people’s projects and two solo projects from Tyler. If you’re really tapped in, there has been music, just not a Children of Zeus album. To us, we’ve never stopped. We kept touring, gigging, collaborating and remixing. The album took time because we like to put our foot into it rather than throw anything out.

THERE’S AN INTERESTING TENSION AT THE HEART OF AS THE WORLD BURNS…: THE WORLD MIGHT BE BURNING, BUT THE RECORD LOOKS FOR MOMENTS OF JOY AND PLEASURE WITHIN IT. WAS THAT THE AIM, AND DO YOU SEE THAT SEARCH FOR JOY AS A FORM OF RESISTANCE?

Tyler Daley: That’s probably the closest anyone has come to it. I assumed it would be quite obvious, but other people have taken different meanings from it. That’s pretty much where I am with it.

Konny Kon: For us, this felt like more of a fun album than the last one. The way people perceive our music is not always the same as how we feel about it, but this felt a lot more fun. Creating fun in a dark time felt a bit weird, but you’ve still got to give people these distractions: a little something to take their minds away from what’s going on around the world.

Tyler Daley: I think the best change we can affect comes from trying to bring about some form of positivity. We can get angry and push more negativity into the world; even resisting something can sometimes come across as aggressive. The people who come to our shows are the most loving and diverse crowd. If we can continue building that crowd and that energy, that’s probably the best thing we can do: put some good energy into the world, because there doesn’t seem to be much of it at the moment.

YOU’VE DESCRIBED THE ALBUM AS “50 MINUTES OF BIG PEOPLE MUSIC”. WHAT DOES THAT PHRASE MEAN TO YOU?

Konny Kon: When we were kids, we listened to a lot of pirate radio and they always used to say “big people party”. It would be one of these parties we couldn’t attend – even if we were ten years older, I don’t think we’d have been allowed in. Big people music was the music I was really tapped into: street soul, reggae and the music that wasn’t some novelty thing for our age group. It’s serious, tough music. It’s open to everyone, but that was the way of describing it.

Tyler Daley: “Big people” is a Caribbean term for people who are older: your elders. We’re obviously not kids, so to make music for kids would be a bit weird in my book. We try to grow with our music and allow the wisdom to come through as well. It’s grown music for grown folks. That doesn’t mean it’s exclusive to them, but we get a bit deeper beyond the surface.

YOUR MUSIC DRAWS ON WHAT YOU GREW UP HEARING WITHOUT FEELING LIKE STRAIGHTFORWARD REVIVALISM. HOW DO YOU DRAW FROM THAT HISTORY WITHOUT SIMPLY RECREATING SOMETHING FROM 1993?

Konny Kon: I don’t think we purposely set out to make anything that is either forward-thinking or nostalgic. We just make music inspired by what we like, and that’s a mixture of really old music that predates us being born and music that came out this week. It takes in influences from the last 40 or 50 years.

I remember people saying, “You guys are so ’90s R&B and ’90s hip-hop.” We hadn’t even considered that. We weren’t purposely doing it; we were drawing from our influences. Some came from when we were kids and some from music that had just come out. We never say, “Let’s make something nostalgic,” or, “Let’s make what we’re listening to right now.” It’s just whatever comes out.

Tyler Daley: From the outside, it probably looks like we’re quite diverse. To us, it just feels like one continuous thing.

STREET SOUL FEELS LIKE THE MAIN LINEAGE RUNNING THROUGH CHILDREN OF ZEUS. FOR SOMEBODY UNFAMILIAR WITH THE TERM, WHAT DOES IT MEAN TO YOU, AND DO YOU FEEL YOU’RE CARRYING THAT TRADITION FORWARD?

Tyler Daley: It’s what I grew up on. My parents were very much on the pulse when it came to subcultures and what was happening in Black music. At the time, there were these soul records that weren’t being played on popular radio or getting airtime anywhere unless you knew where to go. I was way too young for those underground clubs, but I got the music from my parents because they played it all the time. As soon as I was old enough, I listened to pirate radio myself and taped it. I’d say that’s probably one of the things Konny and I connected on.

It’s a huge part of our music. If you were to call us anything, you’d probably say we are modern-day street soul. I think it’s a very unique UK experience, even though not every street soul song is from the UK. All those elements came into the melting pot: reggae basslines, hip-hop drums and very soulful vocals, with something almost like lovers rock in its essence. Along with hip-hop, it’s probably the biggest inspiration for Children of Zeus.

Konny Kon: It’s a form of soul. It’s almost as if street soul was to soul and R&B what lovers rock was to reggae: a UK take on it. It wasn’t only UK music, but a lot of it was a UK take on R&B and soul at the time, and much of it was hip-hop-inspired. It sounded very hip-hop and very raw, but the UK take was also very Caribbean.

A lot of it was very DIY, with shaky vocals. You can listen to some of those songs and tell someone’s cousin has come into the studio for the first time to sing something they’ve been told to sing.

Tyler Daley: As raw as it was, it was fire. Basslines being “too loud” became: that’s not too loud, because we turn the bass up anyway. We’re going to leave the bass a little bit loud and leave these drums a bit dusty. This is how we hear music and how we want to listen to it – with that same feel reggae had back in the day. It’s raw ghetto music.
THAT MUSIC REACHED YOU THROUGH PARENTS, PIRATE TAPES, DJS AND CLUBS. WHY ARE INDEPENDENT AND COMMUNITY RADIO STILL IMPORTANT NOW?

Konny Kon: It’s an alternative. Radio is almost redundant in some aspects now. For us, radio was where you discovered music through DJs, whereas I feel like radio DJs are now chasing what’s happening online: “That’s hot online, so we need to play it.” Independent and local radio are still tapped into showing people things they don’t necessarily know.

Everyone is struggling to be heard. Unless you’ve got a bunch of money to throw at it, it’s really hard. There are more opportunities, but you’re competing with so much other stuff. It’s important to have DJs showcasing music that isn’t playlisted on daytime radio. Even on some specialist mainstream shows, people are dictated to about what they play. Independent radio can help those still struggling to be heard.

Tyler Daley: Coming from street soul, it was just as exciting – if not more exciting – to hear something by someone you’d never heard before. We grew up on tapes where a song would get dropped in a club, nobody had heard it, it would get three or four reloads, and off the back of that become a massive song.

It isn’t easy right now because people have to work, but as a selector, it’s your job to educate people. I was educated by DJs. That’s where I got my music knowledge: from other DJs I respected. The community side of radio still retains that somewhat, whereas I think it has been lost everywhere else.

THERE’S BEEN DISCUSSION ABOUT WHETHER STATIONS SUCH AS 1XTRA DO ENOUGH TO SUPPORT NEW BLACK BRITISH MUSIC, RATHER THAN RELYING ON FAMILIAR US R&B AND POP. FROM WHERE YOU’RE SITTING, DOES NEW BRITISH SOUL GET ENOUGH VISIBLE SUPPORT?

Konny Kon: 1Xtra and other radio stations are under pressure to be commercial and stay funded, so it’s not just their fault. Consumers dictate it too. I DJ in clubs quite a lot and don’t necessarily get to play the music I want. You can see people leave or the energy die down when you play too much stuff they don’t know. For the age group 1Xtra is aiming at, mid-2000s R&B is probably what most of them want to hear. They could playlist daytime music that people don’t know, but listeners might turn off, in the same way that people in a club want familiarity and nostalgia.

That goes back to why independent radio is important: it can showcase music without the same pressure. 1Xtra has the tough job of serving as many people as possible. Would I like to hear more UK, independent and underground music there? Of course. I’d love to be playlisted and supported more, because I’m sure that if people heard it a hundred times, they’d end up liking it.

Tyler Daley: I don’t remember a time when it wasn’t like that. We grew up on pirate radio because nobody else was playing anything we liked. The music we’re into is specialist, and it’s the specialist DJs’ job to push it and get certain songs into the mainstream. We create our own hype through the internet, specialist DJs and community radio. That’s our fight. I can’t see the other side changing too much.

IF TWO YOUNG ARTISTS LIKE YOURSELVES WERE STARTING OUT IN MANCHESTER IN 2026, WOULD THEY HAVE BETTER OPPORTUNITIES THAN YOU HAD, OR HAS GRASSROOTS CULTURE BECOME HARDER TO EXIST IN?

Tyler Daley: I think it’s way easier. There are a lot more artists now, so there’s definitely more competition, but you can go straight to the consumer. As long as you’re consistent, have a bit of a plan and have some good music, you should be able to find a fanbase. It has its own obstacles, but in terms of opportunities and the ability to do things yourself, it’s massively different.

Konny Kon: I agree. When we started, there was zero opportunity. Everyone moved to London to try to make it. There were no record labels and no promotion; everything was in London. Even then, with the type of music we make, you were trying to reach America or the wider world. Now you can do it yourself. You just need to find the people who are into it.



THE PRESS AROUND THE ALBUM TALKS ABOUT “MOVING THE ALGORITHMIC NEEDLE”, BUT YOU COME FROM A VERY DIFFERENT CULTURE OF MUSIC DISCOVERY. AS THIS UNCLE CAMPAIGN PUTS CHILDREN OF ZEUS PHYSICALLY ONTO THE STREETS, DOES OCCUPYING PUBLIC SPACE STILL MEAN SOMETHING IN AN ERA OF PERSONALISED FEEDS?

Konny Kon: It’s more important than the algorithm, definitely. The algorithm doesn’t really work for us, to be honest. It never has. We’ve been trying to figure it out for the last five years or so. Real life is always more important than the digital world. Someone can see something tangible and physical; I think that holds much more weight than the algorithm.

IF SOMEBODY IS ABOUT TO HEAR AS THE WORLD BURNS… FROM START TO FINISH, WHERE SHOULD THEY LISTEN?

Konny Kon: Either a solo car trip, so your annoying friend isn’t talking all the way through it, or on headphones. I feel like we make music for headphones. There are so many little things we deal with when making an album: I hope someone hears something pan from one ear to the other, which they’re not going to pick up on a phone or laptop speaker. We spend so much time on details that perhaps one per cent of people will notice, but when they do, it means the world.

A guy from Manchester reviewed Balance in his car and pointed out all these Easter eggs. The middle track is called “Balance” and sits right in the middle. On the intro, it says “left side, right side”; on headphones, you hear those in the corresponding ears. I was like, “Yes, someone noticed.” The basslines are important too, so you need something that can handle them.

Tyler Daley: I have to listen on big speakers or in the car. I’m not as much of a headphone person as Konny because I’m nervous about messing up my ears. As long as the drums and bass are kicking, that’s my favourite. If I can hear it loud on big speakers or in the car with the bass thumping, that’s where I want to listen.

Konny Kon: When we make albums, we do the mix and then sit in the car to listen. You have to take it into the car and it has to work there. We’d mix in a car if we could. We’ve tried – I took a laptop into the car once and went around mixing stuff.

AFTER SOMEBODY REACHES THE END OF THE ALBUM, WHAT DO YOU HOPE THEY’RE LEFT FEELING?

Tyler Daley: Optimistic, somewhat.

Konny Kon: Outside of enjoying it, which is the main thing, I like leaving things open to interpretation. It’s always interesting to hear what people take from our music that we didn’t intend, or when someone comes to the same conclusion as us. Once it’s out in the world, it’s out of our hands. We’ve done what we can, so I’m happy for people to take on board whatever they take on board. First and foremost, I really hope people enjoy it.

Tyler Daley: If you come to a Children of Zeus show, one thing you can leave feeling in today’s climate is: there are actually some good people out there. There’s a nice, cohesive community of good people. That’s why I’d say optimistic.
 

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FeaturesBARCO BASH: The Carnival Writing New History in Brighton
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“Black culture exists in this city, it is welcome in this city, and everyone is invited to come and explore and enjoy it with us.”

That is the statement at the centre of BARCO BASH, Brighton’s Black-led arts and culture carnival, and one that grows more visible with every summer it returns to St Ann’s Well Gardens.

BASH has quickly become a date to circle in Brighton’s cultural calendar. The kind of annual event around which people begin building their own traditions: the same route through the park, the same group chat revived each summer, the same house nearby where everyone meets for a drink beforehand. Decades from now, people might be able to say, “We always go there before BASH,” without remembering exactly when the routine began.

St Ann’s Well Gardens is already a historic park, but a walk through it on the day before BASH, or on the reflective day after, gives the sense that history is still being written there. Stages rise between the trees, familiar paths become part of a carnival site, and the atmosphere lingers even once the music has stopped. New blue plaques will have to go up.

The journey to that park began years earlier. Before 2020, BARCO (Black Anti-Racism Community Organisation) co-founder Bud Johnston already had what he describes as a “yearning” to create a Notting Hill-style carnival in Brighton. The initial response from some influential people in the city was discouraging. Brighton already had Pride and a busy events calendar, he was told. Similar ideas had failed before. Some, ignorantly, even questioned whether a Black community existed in Brighton at all.

“2020 was shit for many reasons, but the spotlight on anti-Black racism through the George Floyd incident, and that worldwide lens on it, almost felt like a wake-up call to white people,” Bud recalls.

Conversations that had previously been dismissed began to open up. Bud and Rob “Bobby” Brown started discussing what an organisation could look like if carnival sat at its centre without representing the full extent of its work. They studied the year-round models behind carnivals in Bristol, Manchester and Notting Hill, where work with young people, costume-making, steel pan rehearsals and community organising all build towards one public celebration.

Around the same time, Bud met Annie (AFLO The Poet), who had independently organised protests in Brighton just as he had. Their conversations moved from what had happened to what might come next, and BARCO was born in the Africa Cafe on London Road.

Bobby later brought Jacob Mee into the fold as the person who could help turn their ambition into an event. Vannessa Crawford of the Black and Minority Ethnic Young People’s Project joined as an early trustee and supporter, bringing valuable experience of building and sustaining grassroots, not-for-profit organisations. A wider team grew around them, made up of people willing to offer their time, knowledge and labour to something the city had previously been told it did not need.

BASH’s early editions were smaller: a marquee, one food vendor and no proper stage outside St Peter’s Church, followed by a move to Jubilee Square, where a small stage and traders from Black Brighton Market joined the programme.

Its eventual move to St Ann’s Well Gardens transformed what the event could become. The park’s trees, slopes and distinct pockets provide natural environments for music, food, performance and gathering, while leaving space for the carnival to continue growing. BASH stands for Building Alliance, Solidarity and Hope, and the event is simultaneously a celebration of Black culture, a meeting place and an invitation to the wider city.

This year, UNCLE is supporting BARCO through a flyposting campaign that carries that message beyond the park and onto Brighton’s streets. Ahead of BASH, we spoke with Bud Johnston and Jacob Mee about carnival as a means of building community, Brighton’s progressive reputation, the labour behind sustaining a grassroots organisation and their hope that, decades from now, they will be able to attend simply as passengers.
FOR ANYONE DISCOVERING BASH FOR THE FIRST TIME THIS YEAR, WHAT CAN THEY EXPECT? WHAT’S THE EXPERIENCE YOU’RE TRYING TO CREATE?

Bud Johnston: The most direct comparison is probably a mini Notting Hill Carnival with a Brighton twist. The fact that it takes place in St Ann’s Well Gardens gives it a different dynamic, because you’ve got this central green space with all these different pockets and areas within it. It’s very much a family-focused daytime event, although we also try to arrange some after-dark activity around it.

BASH stands for Building Alliance, Solidarity and Hope. It’s a celebration of Black culture in Brighton, but it’s also a statement that Black culture exists in this city, belongs in this city and should have the space to be seen, shared and enjoyed.

Jacob Mee: The experience we’re trying to create is one that brings the local community together, whether that’s artists, performers, committee members, volunteers or the people attending. There’s a real focus on local talent, and a huge amount of volunteer time goes into making it happen, so it feels genuinely community-led.

WHY CARNIVAL? THERE ARE COUNTLESS WAYS TO BRING PEOPLE TOGETHER THROUGH CULTURE. WHAT MAKES CARNIVAL SUCH A POWERFUL FORMAT FOR ACHIEVING WHAT BARCO WANTS TO ACHIEVE?

Bud Johnston: I think the first thing is that there’s a wonderful Black community in Brighton, but nourishing that community takes a different approach to many other cities in the UK.

If you look at places like London, Manchester, Birmingham, Nottingham or Liverpool, Black communities have often become established in particular areas, sometimes around particular parts of the African diaspora. In Brighton, we’re not all living in one place, and we come from a much wider cross-section of the diaspora.

That means creating community, and then nourishing it, takes real effort. That’s not to say community is built in those other cities without effort, but when people are living alongside each other, conversations happen more naturally and aspirations can align more quickly. In Brighton, we’re not always having those conversations as frequently, so we have to be much more intentional about creating the conditions for community to form.

Carnival becomes a statement piece for that. It’s about celebrating and enjoying Black culture, but also sharing it with the wider community as a way of breaking down barriers.

As an organisation, we’ve taken the view that one route towards challenging anti-Black racism is through sharing culture in a way that people can learn from and enjoy. That feels more human to us than some of the more clinical approaches, where the focus is on what people can and can’t say, or on things like unconscious bias training. Those spaces can sometimes feel robotic.

Carnival taps into something much more instinctive. People want to be together, people want to enjoy themselves together and people want to feel part of a community.

BRIGHTON’S OFTEN CELEBRATED AS A CREATIVE CITY. FROM YOUR PERSPECTIVE, WHAT DOES BRIGHTON DO REALLY WELL WHEN IT COMES TO CULTURE AND COMMUNITY?

Jacob Mee: Brighton is a really interesting city because it changes so quickly, especially with it being such a student-led place. Bud and I are both born-and-bred Brightonians, which feels increasingly rare. Compared with the city we grew up in, I think it still has the same essence, but in many ways it feels completely different now.

Creatively, it is a real hub for events. There’s a wide variety happening across the city, from the larger, more commercial events to smaller independent projects. Within BARCO, we’ve been able to express ourselves and build something within the capacity and resources we have.

One of Brighton’s strengths is that people connect quite well. I don’t feel like there’s much animosity between different events or organisations. People tend to support each other, push each other’s work and collaborate. From that perspective, I think Brighton does a pretty good job of creating a connected creative community.
AND WHERE DO YOU THINK BRIGHTON STILL HAS WORK TO DO? WHAT GAPS OR CHALLENGES IS BARCO TRYING TO ADDRESS?

Bud Johnston: Brighton gets a pass a lot of the time. The stamp of approval the city prides itself on is often based on having Pride every year, but that doesn’t mean everything else is cool and breezy.

Pride is phenomenal, but I think it has lost some of its origins. It began through activism, protest and demonstration, and it has now become a very commercial enterprise with ticketing and major headline acts. If that’s what it has evolved into, that’s great, but Brighton still needs to make more space for unheard voices.

Growing up here, my parents had to go above and beyond to create a sense of community. They opened our house as somewhere people could gather and feel welcome. Igbo from African Night Fever has been doing that kind of work for years, creating spaces where people can enjoy African culture, music and food.

Once upon a time, I think there were more spaces across the city where those things could happen. Over time, some of them diminished. The people who originally drove those spaces became older, tired or slowed down, and the torch wasn’t always passed across.
That’s one of the challenges Brighton needs to address, but it’s also something BARCO needs to improve. This year, we’ve taken a much stronger approach to bringing in younger voices and beginning the process of handing the torch over. I don’t want to be doing this forever. It needs continuation, and the next generation needs the opportunity to take it over and make it their own.

If Brighton can create more space and make more people feel genuinely welcome, younger generations will know there is somewhere for them to build, contribute and continue this work.

HOW IMPORTANT HAS ST ANN’S WELL GARDENS BECOME TO THE IDENTITY OF BASH? HOW HAS MOVING INTO THAT SPACE CHANGED WHAT YOU’RE ABLE TO DO COMPARED WITH THE EARLIER FORMAT IN THE CITY CENTRE?

Jacob Mee: It has become hugely important. The move almost fell into our laps. Ian from the council had supported us over the years, and during one of our meetings he asked what we thought about St Ann’s Well Gardens.

I hadn’t really experienced many events there before, but once we visited and I looked at it through an event manager’s eyes, I could immediately see how special it could be. It’s a really unique green space. The topography, the different pockets and the way the park naturally breaks into separate areas all give you something that you would otherwise have to build from scratch in a big open field.

That completely changed what BASH could be. Before St Ann’s Well, we had been working in much smaller city-centre spaces with one small stage, a food vendor and a handful of traders. The park gave us room to create different environments, expand the programme and make the event feel much more immersive.

It was daunting at first because the capacity and scale were so much greater than anything we had taken on before, but it now feels like the natural home of BASH. Even after several years there, I don’t think we’ve reached the full potential of the space.

In the future, we’d love to develop the carnival parade further and potentially take it out onto the road, with St Ann’s Well becoming the final destination. At the moment, the parade stays within the park, but there is plenty of room for that side of BASH to grow.
WHAT HAVE BEEN SOME OF YOUR PROUDEST MOMENTS SINCE STARTING BARCO?

Bud Johnston: Honestly, just still being here. The not-for-profit, grassroots sector is mental. So many organisations are competing for the same small pots of funding, trying to win money in one place to make something happen somewhere else. Everyone involved has real jobs, real lives and other responsibilities, so a lot of this work happens on borrowed time.

Many grassroots organisations don’t make it beyond one or two years because people burn out. A lot of us are burned out too, but the shared belief in why BARCO matters has kept us going.

I’m proud that we’ve maintained a core group, stayed true to the mission and built a following around the work. We’ve also somehow managed to stay friends through it all. This is more than an organisation; it’s a relationship, it’s family, and that can be difficult. So the longevity itself, and the fact that we’re still here, is probably the thing I’m most proud of.

Jacob Mee: For me, it’s the moment when 11am arrives on the day of BASH and you realise: okay, it’s happening.

You’ve got 20 or 30 people who have all given their time to put this event together. They might not all have professional experience of running something on that scale, but they have the will to make it work. Together, we’re able to deliver an event that would normally take an entire company to run.

When all the stages are live, the final problems have been ironed out and the day begins to flow, there’s a moment where you can finally breathe. Our job is almost done, and we can watch everything the team has built come to life. That’s the proudest moment for me every year.

IF SOMEBODY IS READING THIS AND THINKING, “I’D LOVE TO BE INVOLVED SOMEHOW,” WHAT’S THE BEST WAY FOR THEM TO CONTRIBUTE?

Bud Johnston: The first thing is to understand what you can bring, but also to find out what the organisation actually needs.

If I had a pound for everyone who said they wanted to get involved, I’d be laughing. It’s genuinely flattering when people want to offer their time and expertise, but we don’t necessarily need 100 litter pickers or 100 people who can design a T-shirt.
For a grassroots organisation already running on fumes, the most useful thing someone can do is ask what is missing. Where are the gaps? What support would genuinely make a difference?

We haven’t yet found the perfect mechanism for making those needs obvious, especially now that more people are asking how they can help, but that’s something we need to improve.

Jacob Mee: After each BASH, we open applications for people to join the committee. There’s a form where people can tell us about their experience, interests and what they think they can contribute.

I’ll then speak with them to work out where they might fit, what support we currently need and whether they have the capacity to commit to helping run the next event.

It’s about matching people’s skills and enthusiasm with the areas where they can have a real impact.

FINALLY, IMAGINE WE’RE HAVING THIS CONVERSATION AGAIN IN 50 YEARS. WHAT DO YOU HOPE BASH HAS BECOME BY THEN? WHAT WOULD SUCCESS LOOK LIKE?

Bud Johnston: First and foremost, I want to be attending it and enjoying it.

I want new energy, new ideas and younger people to shape what BASH becomes. In 50 years, it should be less about what I wanted it to be and more about what they want it to be.

The core message still needs to be there: Black culture exists in this city, it is welcome in this city, and everyone is invited to come and explore and enjoy it with us.

BASH stands for Building Alliance, Solidarity and Hope. If it can hold onto that, then it doesn’t really matter what it looks or sounds like in the future. Music will change, culture will evolve and the stages might be playing things we can’t even imagine yet. Who knows?

For me, success would be becoming a passenger. I want to be able to turn up, enjoy it and watch new people bring their own vision to it.

Jacob Mee: From an event-management perspective, I’d like BASH to become genuinely sustainable and able to run on its own gas.

I’d love for the core team to be paid properly while still keeping that volunteer element. I’d like it to create part-time jobs, opportunities for local people and a continuing platform for artists and the wider community.

I’d also like to see the parade grow and eventually move beyond the park, but it doesn’t always need to be bigger and better. As long as BASH keeps happening and keeps providing something meaningful for the community, that should be enough.

I can see it becoming a 60-year annual event and a real staple in Brighton for the Black community.

ANYTHING ELSE TO ADD?

Just to say thank you for the support and for connecting us with UNCLE.

Marketing is one of the areas we’ve always struggled with. We spend so much time with our heads down, focused on operations and trying to make everything work, that promoting what we do can easily fall by the wayside.

Having support that gives BASH a stronger physical and digital presence really matters to us, so we genuinely appreciate it.

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FeaturesPapi Juice on queer POC nightlife, New York lineage and revolutionary joy
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Where would club culture be without queer nightlife? Thankfully, that question is mostly academic, though its answer should be remembered more often by anyone who steps past a bouncer, gets a stamp on their hand, and finds themselves under a club’s lights at 2am.

New York City has played a particularly vital role in that history. In bars, dancefloors, warehouses and whatever spaces were necessary, queer people, and especially queer people of colour, have helped shape club culture as we now understand it. Not just the music, but the codes, the style, the freedom, the refusal, the sense that a dancefloor can be more than a floor to dance on.

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For Nuñez, that relationship with nightlife started early, through college radio and secret basement parties at his mum’s house. “I feel like I was born to do nightlife in a way,” he says. For Mohammed Iman Fayaz, Papi Juice’s art director, growing up in Queens meant going out across the city from the age of 18, before discovering queer nightlife as a space where nights out “didn’t have to only be reckless and fun” but could also be places to hear “incredible music.”

That seriousness about music still runs through Papi Juice. DJs are trusted to follow their instincts rather than fit a fixed brief, and the party itself changes shape depending on the setting, the night, or most recently, a 24-hour party at the iconic Nowadays. As part of their collaboration with UNCLE, their work now moves into another kind of space again, appearing across New York through a flyposting campaign built from photography taken at their events.

The collective started with a free-entry clubnight at a 75-capacity venue that, despite managing to squeeze in a few more dancers than that, was tiny compared to some of the events they host now. But speaking to UNCLE not long after the Nowadays party, Mohammed and Oscar trace the identity of their events back to that first one.

“You could just roll up, soak up the vibes, contribute to the vibe and be a part of it,” says Mohammed. “That allowed people to access it and shape it.”

Thirteen years on, they describe Papi Juice as a “moody teenager,” still trying out new things rather than repeating what has already worked. “At times it feels like year one,” Fayaz says of their current moment. Nuñez puts it more bluntly: “I find complacency, especially in artistry, a little boring or expected. I don’t want to give that.”
STARTING AT THE VERY BEGINNING, WERE THERE PARTICULAR PARTIES, VENUES OR PEOPLE THAT INSPIRED WHAT PAPI JUICE BECAME?

Mohammed: When I met Oscar, I think it was around his first DJ set at Azúcar, a party in Bed-Stuy on Franklin Avenue. That was one of the first moments where I remember hearing really interesting, fascinating club music.

Then, of course, GHE20G0TH1K (Ghetto Gothic) is one of our absolute predecessors and forefathers of the scene. It was a place where many different types of music could clash and collide and still work really well.

Oscar: I agree with Mo on that. But also, this is New York City. There’s such a long legacy of people, especially queer people, who have worked in nightlife. I think we are inevitably inspired by them, and we are also furthering the work that they did.

I think about Paradise Garage, Limelight, the club kids in the ’90s. All of these people participated in nightlife before us, and we are all descendants of their work, whether we have taken blatant inspiration from them or whether we are almost subliminally inspired by them.

Very few things in New York City exist in a vacuum. We are all part of a lineage of rich cultural history of nightlife and dance music.
WHAT ARE THE REALITIES OF TRYING TO SUSTAIN A COMMUNITY SPACE IN NEW YORK IN 2026?

Mohammed: We’re definitely beholden to a very strict city compared to some other cities. We like to work with venues. DIY spaces in New York are intensely policed, and friends of ours who do that have got really good at working through loopholes.

But for us, as marginalised people, we don’t really want to interact with cops or deal with being overly policed or overly regulated in that way.

There is also this rapid turnover of venues in New York, and each venue has its own personality. One of my favourite things is that we joke that Papi Juice is a liquid. Whatever venue we’re in, it feels like a different container that we can fill into.

Since our events are roving, and we’re not tied to one venue, there is no Papi Juice bar. So it becomes: how does the one at this bar feel? How does one at this venue feel? How does the one at this warehouse space feel?

Oscar: Another challenge we’ve been facing, at least in 2026, is the economics of nightlife and the financial burden that artists are under in a city as expensive as New York.

All of these rich people move to New York because they are attracted to what artists are making, what artists have built and how artists live. Then all of a sudden, a lot of artists can’t afford to be here. A lot of native New Yorkers who have made the city, built the city and withstood all of the hardships of the city aren’t even able to stay here anymore.

I’ve been talking to a lot of friends in nightlife and we’re all like, I don’t know what’s going to happen. How are we going to survive? We’re hopeful, and we’re artists, so we’re innovative and creative and we’re going to find a way. But the economics of nightlife right now are something we have to navigate very precisely and with a lot of intention.

Unfortunately, that takes a little bit of the magic and the artistry away from it. Artistry is always going to be the focus, but having to work so hard to create is a challenge.
WHAT HAS ALLOWED PAPI JUICE TO KEEP EVOLVING THROUGH THAT?

Mohammed: I do think a big part of it is the music.

We have two resident DJs, Oscar and Adam R, and when we invite DJs to play, in the early days they would ask, “What kind of set of mine are you looking for?” Very early on, we let them know: “No, here are the keys. Here’s the slot. You can do what you want with it, wherever you’re at as an artist.”

One thing I love about New York is that audiences are very devoted to our DJs and they really do see them as stewards. When a favourite DJ is up there doing their thing, wherever they end up taking it on a certain night, the audience is pretty down for the ride.

Especially at Papi, people know: we can trust this person to take us somewhere. Whether an artist is starting out, playing Papi for the first time, or has been at it for a while, they can do what they want on that stage and the audience will meet them there.

Oscar: This might be a little corny, but honestly, the love for each other and the trust that we have in each other (has allowed Papi Juice to keep going). To have been working collectively for 13 years requires a certain amount of trust, love and devotion, and that requires constant work.

Even with Adam, who is our third member, the three of us have to constantly work not only on our professional relationship, but also on our friendship. Ultimately, it is our friendship, our queer, very queer friendship, that guides the project and guides the work.
THE PHRASE “SAFE SPACE” GETS USED A LOT, BUT IT’S HARD TO EVER GUARANTEE SAFETY. WHAT DO YOU PUT IN PLACE TO MAKE PAPI JUICE FEEL INTENTIONAL AND PROTECTED?

Oscar: One of the first lessons we learned in our work is that we can’t call ourselves a safe space. Ultimately, we’re only three people. We can’t be in charge of whether 75 people or 2,000 people in a room are safe.

I’m not the police. I’m not a judge. That’s not my job. As much as we would love to, we can’t guarantee the safety of every single attendee.

But we’ve had systems in place for a very long time. For our bigger events, we always do community guidelines where we highlight all of the information around the event. That might be accessibility notes, the ethos of our collective, ticket information, hours, number of stairs, seating areas, location of speakers and things like that.

With almost every new venue we work with, we have a chat with security and let them know that a lot of our community might not present the way they look on their ID, or with the name on their ID. So we ask them to be extra sensitive around that.

We also ask security to take a de-escalation approach as opposed to an escalation approach. Most of our community are queer and trans people of colour, and a lot of the time, when we’re out at night, we’re on watch.

Then there are little things that we do. I will personally walk around the party a couple of times an hour, through the whole thing, just to suss out the vibe and smile at people. Sometimes I’ll bring a friend and we’ll dance in different rooms. Maybe that’s more spiritual or vibey, but it helps to know how people are experiencing the space.
WHAT ARE THE SMALLER MOMENTS WHERE YOU FEEL THE PURPOSE OF PAPI JUICE MOST CLEARLY?

Mohammed: I love the crowd.

We can sit and work on our nights so thoroughly, produce it down to the final detail, but we can only really go 50%. The other 50% is when those doors open and the crowd arrives. It’s the looks, the DJs people are excited for, the energy they bring.

For our larger events, we do free tickets, and sometimes on the form we ask: what DJ are you most excited for? I love being surprised by the answers. I love being able to invite an artist from a foreign country and have their local audience get really excited. It creates these only-in-New-York moments, and I feel like that happens a lot at Papi.

I try to find myself in the middle of the dancefloor a lot and really soak it up. I’ll almost try to imagine objectively: is this fun? And then I’ll be like, okay, yeah, this is actually really special.

The set design, the lighting, the DJ that’s playing, the combination of everything. You can’t replicate it from one night to the next. But when people are up there dancing, sweating, losing their minds to a certain DJ, that is so the vibe we’re looking for. I love to create space for that and then step back and let it happen.

Oscar: It’s all about those little moments.

Coming off the last event we had, which was our 24-hour party at Nowadays, it literally went from Saturday 10pm until Sunday 10pm, non-stop 24 hours of music. There was a moment where 10010, a producer and artist from Mexico, played salsa with this drummy club pattern underneath it. It was something I had never heard before.

It was 5am, we had RICO RICA on the mic from Montreal moaning and screaming Papi Juice, and it was just like: wow, this is so fab. Just so fab.

WHAT ARE YOUR PLANS FOR THE UNCLE FLYPOSTING CAMPAIGN, AND WHAT DO YOU HOPE PEOPLE TAKE FROM SEEING PAPI JUICE ON THE STREET?

Mohammed: One of our biggest dreams is to become a New York institution. For Papi to have such a home in New York, and to be born and raised here, is such an honour.

Being of nightlife, there is something really exciting about being on the streets, all over the city, in the daylight, in front of a lot of eyes that are maybe not seeing us. There’s something fun about getting a little cheeky. We are aware that the name makes people curious, so with the campaign we have this idea of almost teasing Papi.

We’re using photography from our events. We hire a photographer for each event, so a lot of it is film, a lot of it is really beautiful. Similar to the DJs, we let people know: do your thing.

If you know what Papi Juice is, it will be exciting to see it out in the wild on the street. And if you don’t, you’ll be curious. You almost do a double-take, like: I’m sorry, Papi Juice? Why is that in front of my pharmacy?

We really love this idea of being so public and out there. Sometimes, depending on who we’re working with, people see us as more above ground or underground on any given day. Being quite literally on the street in this way is a fun space to occupy.

Whether nightlife is a huge part of your life in New York, or whether you’re a weekend warrior and only really go out for big moments, there’s something charming about being on your way to work, seeing this on the street and being like, “Oh, I know that.”

Oscar: It’s a cheeky little thing. It’s like a wink to people that know us and our community. It’s like, “Hey boo, enjoy your dentist appointment today,” or something like that.

One of the other things we’re going to do with the campaign is promote our residency on Little Island, which is a man-made public park here in New York City. We had our first year last year, and now we’re continuing and deepening our relationship with the island and the park.

We’re also going to use it to announce our Pride plans, since it will be going up in the first week of June. Some of the spaces will promote our Pride calendar, which is already looking stacked.
THERE’S A POEM ONLINE BY SA WHITLEY, PUBLISHED BY SCALAWAG MAGAZINE TITLED: ‘UPON LEARNING THAT PAPI JUICE JOINED THE PALESTINE ACADEMIC & CULTURAL BOYCOTT OF ISRAEL.’ IT REFRAMES THE DANCE NOT SIMPLY AS ESCAPISM, BUT AS A PLACE WHERE JOY, GRIEF, POLITICS, IDENTITY AND COMMUNITY CAN ALL EXIST AT THE SAME TIME. DOES THAT RESONATE WITH HOW YOU SEE PAPI JUICE?

Mohammed: Yes, it absolutely resonates.

I love the idea of people arriving to our space and engaging with it while showing up with whatever they are showing up with from everywhere else. So often there is escapism in nightlife, and if you want to create this utopia, I love the idea. But everyone is still showing up with who they are, what they’re going through and what they’re dealing with.

Either you’re working it out on the dancefloor, or you’re in the courtyard crying your eyes out to your friend, or your personal baggage is coming up too.

If these sprawling, dynamic, really energetic and charged spaces can let people allow their currents through, whether political or personal or the many combinations of both, then I’m very happy about my job and about creating space.

Oscar: In these days of war and genocide, I strongly believe that showing up somewhere takes a lot. I think it’s truly a privilege to show up somewhere without something in mind already, or without having had to process something that day.

I love the dancefloor as a tool for treating the different feelings people are having. Sometimes you need the dancefloor as escapism, especially if you’re a queer or trans person of colour and your daily life means you have to be so present and so vigilant.

For me, I love going to the club and chatting. I love a good chit-chat in the smoking section. That always heals me. I’m a high-key extrovert, so that is my release, my escape. It recharges me.

But for somebody more introverted than I am, maybe a solo moment next to the speaker, feeling the bass take over your heartbeat, is almost like somatic therapy. It can be a form of therapy.

I’ve always said this about queer spaces too. There is something about feeling like you are in the majority somewhere. Showing up to a queer dancefloor, that feeling of majority is empowering. It is something everybody deserves to feel: collective joy, collectively, that moment of being together.

It can have a positive release, and also a long-term effect on endurance and survival. I’ve always said joy is revolutionary, and it’s a necessary tool to the revolution. As queer people, we’ve always known that joy is a very important part of our survival, and I think a lot of us can find joy on the dancefloor.

WHAT ADVICE WOULD YOU GIVE TO ANYONE STARTING THEIR OWN NIGHT OR COMMUNITY SPACE?

Oscar: Keep at it, and surround yourself with people that you trust and love.

Relationships change. Dynamics change. But building something with someone else is so special, and it can really motivate you. In a world where sometimes we can feel so alone, you are existing with someone else and creating with someone else.

It almost gives you a reason to exist and to coexist. So keep at it, find someone that you love and work with them, create with them, get stupid with them.

Mohammed: I love that.

I would say there are no ideas that you can have that you can’t make. It might seem lofty. It might seem impossible. You might not even know where to start. But the fact that it came to you means it is meant to come through you.

That idea landed in your brain for you to explore. The more you deny it, or the more you find excuses for it not to sprout, it is actually a painful experience. So if you think it, go for it.



Campaign photography by Elle Pérez, Guarionex Rodriguez Jr., Courtney Sofiah Yates, and Elliott Jerome Brown Jr.

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WorkMike D: Switch up
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Beastie Boys’ founding member, Mike D, finally dropped “Switch up”, his first-ever solo single. Coming fourteen years after the group’s last album, “Hot Sauce Committee Part Two”, this legendary return rewarded fans after over a decade of anticipation.

UNCLE ignited this comeback across London with punchy B2 formats. The campaign splashed a wave of good vibes over the blocks, driven by the single objective of bringing absolute happiness to everyone.

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WorkGIVEON : BELOVED – ACT II
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R&B star Giveon just dropped his new album, “Beloved – Act II” and this deluxe edition unveiled five exclusive bonus tracks. The release offered a deeper look into the artist’s introspective lyrics and captivating baritone voice.

UNCLE made this launch unmissable by flooding the London streets with an eye-catching B2 formats, bringing this musical masterpiece straight to the people amplifying Giveon’s soul-stirring energy.

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WorkBebe Rexha : New Religion
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After years of navigating the industry in silence, Rexha proved that betting on herself was the ultimate power move. 

Her independent debut, “New Religion” featuring Faithless, served as a sharp opening statement for her upcoming album, Dirty Blonde.

Without a major label’s PR machine, Bebe Rexha and UNCLE ignited London’s streets, plastering the city with raw 4-Sheet and B2 flyposters. The message was loud, local, and impossible to ignore.

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WorkMassive Attack x Tom Waits: Boots on the Ground
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When the world tilted, Bristol’s iconic duo refused to watch from the sidelines; they mobilised. Massive Attack released “Boots on the Ground” a sharp single featuring the unmistakable, gravelly tones of Tom Waits. The track served as a direct critique of Western militarism and a growing sense of global disillusionment.

To drive the point home, UNCLE took to the streets of Bristol, Manchester and London, through a bold 4-sheet poster campaign. Massive Attack saw the political climate and pasted their protest across the nation’s walls.

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WorkBoards of Canada
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The radio silence from Boards of Canada just took a high-voltage hit. This wasn’t about digital leaks; it was a coordinated, physical takeover. Across London and Manchester, the walls began bleeding codes that only the initiated could decode.

With Warp Records fuelling the hype and UNCLE executing, the streets became a haunting playground. The campaign deployed 3,000 B2 posters, surgical 4-sheet strikes, and massive paste-up blocks. Reddit melted down as the evidence mounted: the Sandison brothers didn’t just return—they reclaimed the frequency. The cult is officially back.

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WorkTink: F**k, Marry, Kill
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Forget the playground rules. Tink returned, turning “F**k, Marry, Kill” nostalgia into a reality check.

Her latest drop wasn’t just music; it was a masterclass in modern R&B storytelling. Tink dissected how we recklessly sort our lovers like school games – messy, blurred boundaries, and usually fuelled by a stiff drink. It was sharp, provocative, and unapologetically raw.

To match that energy, UNCLE took over the London streets, plastering the city with high-impact B2 blocks. Tink didn’t just play the game; she broke it.

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WorkMyley Cyrus: Younger You
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To celebrate the 20th anniversary of Hannah Montana, Miley Cyrus delivered a fearless love letter to her roots. With “Younger You”, she isn’t just remembering; she’s reclaiming. It’s a visceral stripping of the pop veneer, traded for disarming authenticity.

Across London, UNCLE turned the streets into a raw scrapbook. No glossy campaigns here, just B2 posters acting as gritty, street-level echoes for the fans who grew up with her. This isn’t just a track; it’s a defiant reconciliation.

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WorkThe Rolling Stones: The Cockroaches
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London was infested, and for once, no one complained. Neon pink posters bled into the city’s cracks, screaming one name: The Cockroaches.

UNCLE flooded the streets with B1 formats, sparking a viral fever dream. While the Stones often say “you can’t always get what you want,” eagle-eyed fans knew the game. A QR code warped commuters into a gritty 70s bedroom where a clock ticked toward April 11, 2026. With Ronnie Wood already hinting at a new release, the mystery turned into a global roar.
The Stones reclaimed their territory, and London was officially hooked.

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WorkCharley Crockett: Age of the Ram
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Charley Crockett is no stranger to the shadows. With Age of the Ram, the Texan drifter rides into London to close out his legendary Sagebrush Trilogy. It’s a record for the loners, the outlaws, and the ones making a dollar a day just outside the law.

UNCLE backed the release with a flyposting takeover, plastering the album’s outlaw spirit across East and West London. No polished billboards—just raw paper on walls, mirroring the soul of the record.
The trilogy is complete.
The Age of the Ram is now.

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WorkPAUL MCCARTNEY: THE BOYS OF DUNGEON LANE
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Five years of silence – over. Paul turned the lens inward, unlocking formative memories and untold stories that built his legacy. The Boys of Dungeon Lane lands May 29: raw, intimate, and alive with newly sparked love songs. 

In a massive street-level tribute, UNCLE seized control of Liverpool and London, flooding the streets with an intensive 4-sheet takeover. Even before Paul’s first mention—IYKYK—the landscape had transformed. From the docks to the West End, every wall stood as a silent testament to his most personal story yet.

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WorkNiall Horan: Dinner Party
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When a song changes the trajectory of a life, you don’t just release it – you plaster it across the capital. To announce Niall Horan’s latest single, Dinner Party, UNCLE made an impact with a 4-sheet flyposting campaign.

UNCLE celebrates this meeting between Niall and Amelia right in the heart of London’s streets. We used the raw power of physical posters to make the March 20th drop impossible to miss.

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WorkFoo Fighters: Your Favorite Toy
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Foo Fighters: Your Favorite Toy

Legendary rockers, Foo Fighters, announced the release of their 12th album with the title track. Your Favorite Toy is a scrappy return for the band, and UNCLE took over Manchester’s streets with bold print blocks; like the track, unpolished and direct.

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WorkRaye: This Music May Contain Hope
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Raye: This Music May Contain Hope

Following the success of the lead single, Raye’s second studio album – THIS MUSIC MAY CONTAIN HOPE – is highly anticipated. Set in 4 ‘seasons’, the album promises to take listeners on a journey ‘that begins with darkness and ends with light’.

To coincide with her sold-out tour dates there, UNCLE brought the album announcement to the streets of Manchester. Taking over megasites across the city, the work included a characteristically straight-forward request from the artist – to scan the QR code to buy the new album.

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WorkBoiler Room: Basement Jaxx
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So, where is your head at?

Boiler Room recently announced a daytime open-air festival at London’s Burgess Park with the legendary English duo, Basement Jaxx.

UNCLE worked with Boiler Room to mark the occasion with a takeover of London’s streets. Large posters read “WHERE’S YOUR HEAD AT?” – a nod to the 2001 era-defining anthem – and were placed alongside imagery of the iconic monkey from the music video. The result was a campaign that stopped passersby in their tracks and pulled them straight into the energy of a noughties nightclub.

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WorkGORILLAZ
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A quarter-century since their debut, Gorillaz are still moving faster than the culture. To celebrate their new album The Mountain – a vibrant, Indian-inspired ode to life – UNCLE brought Hewlett and Albarn’s latest vision to the streets.

UNCLE flooded the streets of London and Manchester, cutting through the noise with a heavy-duty spread of B2s and 4-sheets.

Twenty-five years on, and the Gorillaz fire is still prolific. This wasn’t just a campaign; it was a homecoming for the legends.

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WorkKneecap: Fenian
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Kneecap: Fenian

This is a reclamation, Kneecap style. Named after a term heavy with historical weight and misinterpretation, the Irish trio’s next album, Fenian, is challenging the outsiders’ definitions and flipping them back on the storytellers.

UNCLE helped with the rollout of the album in two distinct phases. The first leaned hard into language and context, pasting oversized definitions that reframed a loaded word on the street. The second phase revealed the album artwork: bold and unmistakably Kneecap.

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FeaturesHelp Comes Round Again
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Thirty years on from the original HELP compilation, War Child’s new release brings together some of the biggest names in music.

Back in 1995, War Child brought together some of the biggest names in music to record an album in one day. The result, HELP, raised over a million pounds for the charity, which had been set up to support children caught up in the Bosnian conflict. Fast forward to 2021 and a label, War Child Records, was set up to re-release four albums released by the charity between 2002 and 2009.

Each album saw artists covering beloved records, collaborating with other artists, or donating new songs. 1 Love was released in 2002 with a track list that included Sugababes and The Prodigy (the latter remaking The Specials’ ‘Ghost Town’). The following year saw Hope released, in response to the Iraq War, with exclusive tracks and covers from the likes of George Michael, Spiritualized, Beth Orton and Yusuf Islam. 2005’s Help! A Day in the Life celebrated the tenth anniversary of the original and in 2009, War Child Presents Heroes had a collaboration between Lily Allen and Mick Jones from The Clash and covers from Beck, Estelle and Franz Ferdinand.

Now, HELP(2) is poised to repeat that success. Recorded over one intense week at Abbey Road Studios in November last year and executive produced by James Ford, the project was unveiled via the surprise release of a brand-new Arctic Monkeys track. Alongside original recordings, the album features a run of standout covers, including Olivia Rodrigo’s take on ‘The Book of Love’ and Fontaines D.C.’s powerful reimagining of Sinéad O’Connor’s ‘Black Boys on Mopeds’.

Additionally, there’s an all-star band pulled together by Damon Albarn. Alongside vocals from Kae Tempest and Grian Chatten, ‘Flags’ also features Johnny Marr on guitar, Adrian Utley from Portishead, Dave Okumu of The Invisible, Seye from Gorillaz and Ezra Collective drummer and bandleader Femi Koleoso.
 
It was collaborative in every sense of the word. “They were in the studio for two days,” recalls War Child’s head of music, Rich Clarke. “First day, Damon decided he’d really like to incorporate a children’s choir. The A&R team hastily found two children’s choirs and they took the second day to record it. Then on the second day he decided it would be amazing to have an adult choir as well. The call went out, and we had all of Pulp come in, and all of English Teacher. Carl Barât, Marika Hackman, Declan McKenna, Let’s Eat Grandma. Everyone mucked in.”

Money raised from HELP(2) will go to War Child’s work in 14 counties, where they partner with local organisations to provide emergency support, protection and care, education and community support during and in the aftermath of conflict. It also offers a sunny moment in otherwise unrelenting realities.

“For last few years, taking the Ukraine conflict as a starting point, the news has been saturated with violence,” says Rich Clarke. “We didn’t think there’d be war in Europe again, possibly in our lifetimes. The situation in Gaza. Sudan is finally making it into the news and that’s the largest humanitarian crisis in the world right now. There’s a feeling of helplessness, generally. This felt like a positive project people could lean into.” It’s certainly necessary: around 520 million children are affected by conflict, roughly double the number thirty years ago.

HELP(2) visuals were led by Academy Award-winning director Jonathan Glazer and frequent collaborator Mica Levi, and the album artwork is now visible across London on poster and billboard sites donated by BUILDHOLLYWOOD and UNCLE. “I’m going to cycle down Camden Road on the way home, take a pic, pop it on my Instagram,” says Clarke. “Doing it as a billboard is a real ‘wow, it’s real!’ moment. That’s the picture you send your mum, isn’t it? It hits harder than forwarding the PDF file.”
What is it about bringing together artists, for special recording sessions, that works so well for War Child?
There’s heritage and trust. The creative lynchpin of everything is producer James Ford, and this record is a reflection of the collective spirit of the music industry. James is in a current battle with leukaemia, which he came down with a couple of months after agreeing to do this. The original idea was very different – working very closely with each and every artist in the studio but that wasn’t possible. He did the production remotely and a lot of other producers, engineers and mixers stepped up and filled in: David Wrench, Marta Salongi, Catherine Marks. It was a collective spirit, for James and for the cause.

The Arctic Monkeys track ‘Opening Night’ had eight million streams within a few days of release. What else can you tell us about the music?
We had a real coup getting Cameron Winter at a point when Geese have gone absolutely stratospheric. There’s a Depeche Mode cover of a track called ‘Universal Soldier’ which is a folk song Donovan made famous. They’ve done a full Depeche industrial makeover of it and it punches quite hard.
 
What are the musical links between HELP from 1995 and HELP (2)?
There’s a narrative that weaves through from then to now. Beth Gibbons comes back and does a cover of Velvet Underground’s ‘Sunday Morning’. Graham Coxon plays guitar on the Olivia Rodrigo track and he’s on English Teachers’ track. Damon Albarn’s back. Pulp weren’t on the original, but the original was nominated for the Mercury Prize the year after it was released. Pulp won, for Different Class, but they said HELP should have won and donated the prize money to War Child.

Another link between then and now is the role of billboards in spreading the word…
Billboards are consumed the same way as ’95 – it’s what you see from the top deck of the bus – but it’s used differently. Back then you’d tell your mates when you got to work but now it’ll be straight up on whatever platforms people use. I love some of the creativity you see around billboards, like when they go beyond the frame or become an art piece. It’s always nice to see something you don’t expect. There aren’t that many nice surprises in life now, so it’s good to see something that makes you stop and look. So, I hope people stop and look and scan the QR code.
 
The idea behind the visual world of the album is ‘by children, for children’. How did that work in the studio?
We will always represent children in a dignified and empowering way and we would never use imagery that shows injury or trauma. The scene on the album cover captures a moment of transcendence and escape for the boy running through the water. It does show that brutality of war but there are moments of incredible lightness that celebrate childhood. It’s unbridled happiness: the joy, the light, everything. The cover and creative direction for the project was by Academy Award Winner Jonathan Glazer. Academy Films built on that, giving eight- and nine-year-old children handheld cameras, to film the artists recording. You can see what’s happening in the studio through the eyes of a child.
How did this work with the children who contributed remotely?
We worked with Academy Films to get crews out to Gaza, Yemen and Sudan, where handheld cameras were given out to children. They filmed their peers just being children. They run, jump, play, climb, laugh, fall over, drop the camera. It’s deeply moving, but positive and empowering. It humanises conflict; it’s not far away or distant. Childhood is universal.
 
Are there any plans to record artists from conflict zones?
It’s something we’ve explored in the past. We’ve worked with musicians around Kinshasa in the DRC and there’s been a talk of a musical exchange with our programmes in Jordan and Lebanon. There’s a desire to do it but we just haven’t found the right way. A lot of musicians here are from backgrounds in the conflict countries we work in, so we’re always really keen to link that up; to tell that story, to shine a light. We’re in 14 countries and only a few are on the news agenda.

It’s easy to imagine that charity sits in a different place to culture. I think that’s a false binary. Is this something that War Child thinks about?
The first seeds of change often come from culture: art, theatre, music. That’s the first form of protest often, the first form of reaction. Culture and charity seek change, serve a purpose, and to make a difference.

Are there challenges in being vocal and active about conflict even when you’re just focusing on children’s experience?
Yes. It is and it isn’t. Like every charitable organisation, we’re politically neutral. There are challenges with some of the more politicised conflicts. Ultimately children are always the innocent victims of war. War is waged for many different reasons and different agendas and we do our best to navigate it. 

The track list for HELP in 1995 wasn’t printed on the inlay because there wasn’t time between recording and release. What else has gone down in your organisational history about that time?
The challenge and the excitement of getting in there and laying down in a single day. Two of the artists were The Stone Roses and Stereo MCs – I think it took them five years and eight years respectively to make their second albums. In 1995 the logistical piece was massive: to record it in the day and have it in the shops five days later. There are stories of private jets, tapes missing ferries – somehow it all got together. It went to print on the artwork before Eno who mastered the album had finished sequencing. There’s no track list on the vinyl this time either, for a similar reason. There was an artwork production deadline – but it’s also an homage to the original. We put a sticker on the front this time.

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WorkJames Blake: Trying Times
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James Blake’s new album Trying Times is a meditation on love, isolation and the relentlessness of modern life. Launching on March 13, it is Blake’s first fully independent album – a 12-track body of work that moves “through the comfort of loving and being loved while recognising how fragile that safety can feel” against global anxieties and private doubts.

After Blake teased the album online for 72 hours, UNCLE worked with Virgin Music to do the same, but in the physical world. Featuring stark, type-driven posters with the album and single titles, the campaign mirrors the emotional weight of the forthcoming album and Blake’s comments on modernity.

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WorkHarry Styles: Kiss All The Time. Disco, Occasionally.
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Harry Styles: Kiss All The Time. Disco, Occasionally.

After nearly four years without a full-length release, Harry Styles has just announced his next project, in monumental fashion. Teasing his long-awaited fourth solo album, Kiss All the Time. Disco, Occasionally., cryptic billboards and posters began appearing on streets around the world – a sign that, for fans, could only mean one thing.

UNCLE worked with 7stars and Columbia Records as the on-the-ground team helping to bring this moment to life. Across London, Birmingham, Liverpool, Manchester and New York, large-format posters featuring crowd imagery and the words “WE BELONG TOGETHER” took over city walls. The result was a global moment of connection and community, meeting Styles’ audience exactly where they move, meet and live.

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WorkFCUKERS: Ö
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FCUKERS: Ö

FCUKERS have built a reputation on distortion, disruption, and a refusal to smooth the edges. In anticipation of their recently announced album Ö, UNCLE worked with the band to take their unmatched energy directly onto the streets. Posters were installed throughout East London and then intentionally graffitied as part of the creative itself – reinforcing FCUKERS’ anti-polish attitude and aligning the visuals with the raw immediacy of their sound.

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WorkA$AP Rocky: DON’T BE DUMB
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A$AP Rocky’s Don’t Be Dumb isn’t just a traditional album but rather a fully realised creative universe. It’s a welcome return to old school A$AP, existing within the world of Tim Burton – who helped illustrate the album artwork. Built some 8 years after his last album, the project is an eclectic body of works that encompasses a whole lot of genres, and allows for A$AP’s alter egos to shine. To bring A$AP’s world into physical space, UNCLE translated Burton’s hand-drawn characters and warped visual language onto the streets. Stark DON’T BE DUMB typography sat alongside distorted figures, checkerboarding and colliding into moments that live online and offline.

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WorkRALLY Festival 2026
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In its three short years, RALLY has proved to be more than just another one-day festival. Built on collaboration and cross-discipline, the festival celebrates London’s underground music and arts communities, with a focus on DIY culture and grassroot movements. Having recently announced their first artist as Blood Orange, a musician synonymous with boundary-pushing sound and emotional depth, UNCLE helped the city of London see RALLY for what it is, and what it stands for.

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WorkBar Italia: Some Like It Hot
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London’s own Bar Italia, returned with Some like It Hot, the trio’s fifth studio album. Its a record that burns with romance, intrigue, self-discovery and rapture – music made for dark rooms and loud streets. Working with Beggars, UNCLE helped announce the album, and world tour of the same name, to the streets of the band’s stomping ground with visuals of the band framed in electric blue – contrasting against the city greys.

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WorkDave: The Boy Who Played the Harp
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After four years of silence, Dave has just returned with The Boy Who Played The Harp. It’s an introspective comeback for the UK-rapper. Softer in sound yet sharper in message, it’s a story of reflection, growth and mastery, told by the kid who started it all – still searching for harmony in the noise. UNCLE and Neighbourhood Recording made sure the streets were ready for this welcome return with a campaign split over two phases. Phase one showcased the artwork’s poetic visuals, while phase two saw portraits of Dave and the album’s co-collaborators in a campaign that felt more like presence than promotion. A reminder that sometimes the loudest thing in the city is quiet confidence – and no one carries that better than Dave.

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WorkThe Last Dinner Party: Into The Pyre
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The Last Dinner Party have soared across stages and festivals in recent years, thanks to their lavish and dramatic sound. Following hotly in the heels of their award-winning debut album, the five piece have returned with album number two; Into The Pyre. In London, UNCLE and Island Records brought the baroque-rock world of the release to life. Mixing gothic romance with raw texture, the posters echoed the record’s themes of chaos, beauty and rebirth. 

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WorkRobbie Williams: Long 90’s
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Robbie Williams was born to be an entertainer. Since 16, the popstar has been rocking stages worldwide and is showing no signs of slowing, having just announced his Long 90’s tour. UNCLE and Columbia Records took to Camden, around the same time Robbie performed an intimate one-off at Dingwall’s, to announce the tour. Featuring a painterly Robbie Williams in one of his iconic looks – his red tracksuit from Glastonbury 1995 – the paste-ups were adorned with a golden frame and showed an artist at the height of the Britpop era.

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WorkPaul McCartney & Wings
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WINGS is the ultimate anthology of the band that defined the sound of the 1970s. Available in an impressive array of artistically curated formats, WINGS is a lovingly curated time capsule of imagery and music personally overseen by the man himself, Paul McCartney. Releasing in November, UNCLE worked with Universal Music to make some noise. With strong typography of song titles and the album name, and a fluorescent pink and green palette, this was a campaign designed to be seen. And sure enough it was, with the creative posted throughout the city streets of London, Manchester, Liverpool and Bristol, courtesy of UNCLE.

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WorkLeisure: Welcome To The Mood
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Soul-electronic collective Leisure, hailing from New Zealand, announced their fifth studio album earlier this month. Welcome To The Mood refines their soulful ethos into a new chapter rooted in togetherness, authenticity, humanity and creative celebration. To bring news to London, UNCLE worked with Nettwerk on a multi-format campaign designed to be seen. B2 blocks covered the walls of London, while chalk stencils lined the pavement, giving the new release a floor-to-wall coverage.

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WorkKneecap
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Subversive musicians and activists, Kneecap, are hitting up the Wembley OVO Arena in September. At a capacity of 12,500, it’s their biggest gig outside Ireland. True to the band’s passion for justice and refusal to toe the line, UNCLE pasted B2s and 4 Sheets across London, including on classic red telephone boxes. A middle finger to the establishment.

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WorkDoja Cat
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In our latest fly campaign, a lingerie-clad Doja Cat asks Londoners to ring the Vie Hotline, ‘if they’re the jealous type,’ by simply scanning the QR code on the poster. Known for pushing the boundaries between rap and pop, this interactive album launch showcases Doja at her playful, provocative best and highlights the creative possibilities of fly.

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WorkFlorence and the Machine: Everybody Scream
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To tease their hotly anticipated comeback and sixth studio album, Florence and the Machine ran a dramatic two-part fly campaign across London. The first visual features Florence screaming into a hole in the ground, wearing a floaty red dress. The second is layered with gothic text that reads ‘Florence and the Machine Everybody Scream,’ in honour of the new single. It’s a quintessentially theatrical return to the spotlight for Florence that sent fans on a hunt across the city for the posters.

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WorkChappell Roan: The Subway
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Chappell’s late-summer ballad, The Subway, made the perfect subject for a city-wide fly takeover of London. The lyrics, which explore the emotions that surface when you bump into an ex on public transport, are a gritty and raw reflection of city life. With UNCLE scattering thousands of B2s across the city, it’s no surprise it shot straight to number 1.

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WorkSabrina Carpenter: Man’s Best Friend
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After the provocative artwork for Man’s Best Friend dropped, Sabrina Carpenter got everyone talking. In classic Sabrina style, her response flipped the narrative: a tongue-in-cheek London-wide flyposter campaign with UNCLE that sees her pose alongside a Golden Retriever puppy as a jokey reference to the original cover for ‘man’s best friend.’ We pasted B2s and 4 Sheets all across London, turning heads, sparking chatter online and creating buzz for the album. 

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WorkGorillaz: House of Kong
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25 years ago Damon Alban’s Gorillaz stepped onto the scene, bringing with a collection a cartoon lore that has lasted the ages. Part of that lore is Kong, the band’s original home studio that sits atop a hill in Essex. Welcome to the House of Kong, an exhibition like no other as seen in blocks of fly all over London.

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WorkSXSW London 2025
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SXSW London 2025


In 2024, SXSW expanded its global footprint from the Austin plains to the shores of Sydney. This year, SXSW touches down in East London and brings with it the convergence of creativity, culture and technology. UNCLE and Mother London collaborated on a flyposting campaign in the heart of where it is all happening – Shoreditch. Spotlighting the festival in a lime green takeover of our streets, the campaign gives passersby the chance to attend the inaugural SXSW London. Find the posters, take a picture; it’s as easy as that. 

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WorkGALA Festival: 2025
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Considered by many as the first of the festival season, GALA Festival is a warm welcome to the start of summer. Rooted in South London’s Peckham Rye Park, 2025 marks a decade for the independent festival. The artwork created for this milestone captured the essence of the festival, portraying people in their element, immersed in music, and highlighting the deep bonds and joy that define GALA. UNCLE brought this vision to life, with flyposting campaign throughout London, cherishing those special festival moments, and welcoming in another season of sound.

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WorkKaty J Pearson
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Katy J Pearson is an artist that needs no introduction. Her melodic and honeyed voice distinguishes her from the rest and her instrumentation oscillates somewhere between melancholy and electronica. It’s sharp yet dreamy; a warm welcome that invites you in to her artistic vision.

UNCLE had the pleasure of partnering with Katy ahead of her recent show at Petit Bain, a Paris venue that sways and floats on the Seine. How fitting. In a wave of pastel pinks and Celtic knots, we made sure the city of Paris was blushing for Katy J Pearson and her sparkling sound.

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WorkANOTR: On A Trip
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UNCLE partnered with Disorder Group to bring ANOTR’s new album On A Trip to the streets. It’s a genre-bending album from the Dutch duo that showcases their experimentation with contemporary house, krautrock and shimmering disco. With artwork just as vibrant and warm as the album’s sound, we pasted the release internationally across Paris, Berlin and Amsterdam.

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WorkService95
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Service95’s latest poster campaign transformed London’s streets into a dynamic storytelling space through strategic flyposting. By placing posters in high-visibility locations, the campaign ensured maximum engagement with passersby, leveraging the city’s energy to create buzz. The impact was further amplified by integrating digital content, extending the campaign’s reach beyond physical locations. This seamless combination of offline and online strategy reinforced Service95’s brand presence, demonstrating how well-placed street advertising can drive conversation.

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WorkService95
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Service95

Service95’s latest poster campaign transformed London’s streets into a dynamic storytelling space through strategic flyposting. By placing posters in high-visibility locations, the campaign ensured maximum engagement with passersby, leveraging the city’s energy to create buzz. The impact was further amplified by integrating digital content, extending the campaign’s reach beyond physical locations. This seamless combination of offline and online strategy reinforced Service95’s brand presence, demonstrating how well-placed street advertising can drive conversation.

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Worki-D Magazine
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Blackpink’s Rosé takes center stage on the cover of I-D Magazine, and she’s making sure everyone knows it. In a raw and riveting interview, the global icon dives into the emotional rollercoaster behind her debut album—euphoric highs, late-night breakdowns, and the raw vulnerability she turned into pop perfection. To mark the moment, UNCLE hit London hard. West London streets were blanketed in bold, unapologetic 4-sheet posters—flyposting done right, and impossible to ignore.

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WorkParklife 2025
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Parklife came to UNCLE with one goal: get people talking. They dropped a teaser campaign that had everyone buzzing, with BRAT-green posters popping up across Manchester, Liverpool and Sheffield. Fans quickly picked up on the vibrant colour, speculating it was a nod to Charli XCX‘s album art. 

The bold green 4 sheets were impossible to miss, claiming prime spaces to make sure the message hit home. With massive displays and a powerful presence, the campaign ensured that Parklife stood out as the place to catch Charli XCX next summer. 

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WorkEpidemic Sound 2024
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Epidemic Sound always tell compelling stories through sound and has transformed the relationship between brands and audio creators, setting a new standard for collaboration. They’re an invaluable resource for users seeking unique audio solutions. We used a combination of stencils and posters to send a message no one could ignore. Using bespoke formats like stencils we can get you anywhere and everywhere alongside a takeover of wildposting.

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WorkNotting Hill Carnival 2024: Spotify
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Every August Bank Holiday, the streets of West London come to life in a celebration of Carribbean culture. It’s a flurry of feathers, calypso and soundystems where more than 2 million partygoers take to the streets for a high-octane party that champions community and culture. In 2024, UNCLE worked with Spotify in a colourful takeover of the street walls and hoardings. The posters took the seminal sounds of Carnival out of the streets, and into a playlist for you to remember the weekend by.

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WorkFactory International
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Factory International always bring the culture in Manchester. With one eye on the future and the other on the creative scene in the city – expext music and theatre to exhibitions and gaming, they never disappoint. 

They went street side with their upcoming programme of cultural offerings in relevant hotspots around the city because UNCLE know where they target audience reside. They embraced unconventional wildpsoting formats to make an impact, ensuring they were impossible to miss.

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WorkAnother Man
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Another man - flyposting - london

Another Man magazine present SHASHIN RON at Dazed 180 studios. The exhibition showcases the printed words and moving images from the Summer/Autumn 2024 issue, featuring global artists and photographers. Editor-in-chief Ellie Grace Cumming emphasizes, “Photography and visual essays are at the heart of our reimagined magazine. This exhibition honors the remarkable global talent behind our dynamic and thought-provoking first issue.” UNCLE got the poster up across London to spread the word. 

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WorkOuter Town Festival
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Taking over Bristol this summer is Outer Town – the city’s latest independent multi venue festival. Coming off the back of a sold out 2023, the event promises an even better 24 thanks to the addition of the brand-new main stage in the Trinity Centre. Expect vegan food, DIY stalls and other local offerings. UNCLE decked out the streets to spread the word.  

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WorkTales From the Dance Floor
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Written by Sacha Lord with Luke Bainbridge the book ‘Tales from the Dance Floor’ is an exposé and history of Manchester’s nightlife. The book spans the course of three decades, telling an immersive journey through the scene. UNCLE made sure that Manchester was privy to the launch of the book by dominating the streets with flyposting blocks.

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WorkEpidemic Sound
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Epidemic Sound have revolutionised the way brands and audio creators co-exist and work together. The brand has curated a large catalogue of both music and sound effects for users to utilise. Their offering defines a plethora of global campaigns and stories told by brands who use their service. UNCLE dominated the streets with megasites, paste ups and blocks so London was sure to listen in.

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WorkBristol Sounds
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UNCLE kept things local with Bristol Sounds, a brand renowned for hosting a series of events on Bristol’s vibrant Harbourside. This campaign put the spotlight on Dream Wife and Liz Lawrence as they headlined Ritual Union, a day festival featuring over 50 talented artists. It’s an unmistakable sign that summer is officially on the way. 

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WorkFeel The Buzz
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The AO Arena in Manchester have launched a new campaign with the rallying tagline ‘Feel the buzz, feel the energy, feel electric’. This dynamic phrase coupled with the neon snapshot style of visuals on the posters worked well on the streets. The framing of the creative acts as a portal into the venue, creating a bridge between the streets and the arena. UNCLE hit streets hard with posters to grab attention and give the iconic venue the spotlight it deserves. 

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WorkIdles
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Idles have made name for themselves among the punk scene over the last years, fuelled by their unapologetic lyricism and rock and roll attitude. Through the course of multiple album releases they have solidified themselves as a mainstay on festival lineups and continue to sell out their own shows at venues across the nation with Manchester being no different. The defiant nature of the city pairs well with the alternative band so UNCLE brought the news to the city streets. 

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WorkSiriusXM
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SiriusXM is a modern day hybrid of audio entertainment, bridging the gap between streaming service and radio station. Users of their app can access channels covering music, sports, talk shows and all other types of ‘on-demand’ content for an unlimited look at what the world has to offer. Based locally in New York, the brand was in heavy demand after UNCLE went wild on posting across the cities many districts.

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WorkParklife 2024
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Manchester’s most famous music festival Parklife came to UNCLE to spread the word via flyposting across the city. Their teaser artwork featured an illustration reminiscent of a comic strip in a striking red, yellow and blue to begin the run up to the summer music season. Only thing left to wonder is who will be playing? The streets will know first, courtesy of UNCLE.

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WorkSpotify
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Audio streaming service Spotify made some noise in New York City courtesy of UNCLE. They brought with them a bright collection of posters that made for a perfect match with our block format to deliver on a high impact and bold campaign across the city. Their new ‘Daylist’ brings together a changing set of tracks that reflect your music habits throughout the day for a ‘hyper-personalized, dynamic, and playful” collection that you will love listening to.  

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WorkElrow
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Elrow is a staple of the ‘past dark’ music scene; known for their outlandish, downright funky theming and stellar lineups, it’s no surprise that have carved out the path they have. Manchester was home to a collection of their colourful posters to promote their upcoming night at the Warehouse Project to begin the festive season.  

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WorkJunior Bill
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Cardiff sees the local band Junior Bill take stage on the 11th of November at the Cathays Youth & Community Centre, the latter of which is also being celebrated on the evening thanks to their youth-music project – a fitting tie to the host. Inclusive of genres, genders and abilities this independently run see’s Cardiff make their mark on DIY musicianship in support of the local community. 

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WorkBoiler Room Amsterdam
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Boiler Room and Amsterdam are what might be called the perfect pairing; the alternative city is host to all things intriguing and their nightlife is no different. When the renowned electronic collective approached UNCLE to make the pair tangible to the streets, we were happy to oblige. Their red and purple posters brought the underground into focus in the iconic Dutch city.  

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WorkBBC 6 Music – Indie Forever
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Nowhere does indie like Manchester – or music like BBC 6, so this pairing promptly took over the city courtesy of UNCLE. Paying homage to Mancunian hotshots Oasis, New Order and Johnny Marr the colour block galore creative sat pretty amongst the streets of the city.  The campaign brought attention to show Indie Forever, a staple for any alternative aficionado.  

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WorkWarehouse Project
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Already a staple of the British music scene when it comes to clubbing culture and electronic soundscapes The Warehouse Project came to UNCLE for a trip overseas. With jet-black artwork and abstract white detailing, the design made for an intriguing one that left the streets of Amsterdam with questions that WHP were happy to answer. UNCLE taking the brand to new heights.

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WorkLaura Misch
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Laura Misch has been making movements ahead of the release of her debut album ‘Sample The Sky’, complimented perfectly with her powder blue posters that cut through the grey of the approaching winter months. Misch decided to dominant Europe by popping up across the continent in Amsterdam, Berlin, Brussels and Paris to make her bid for song of the season and UNCLE were happy to oblige.  

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WorkBoiler Room Berlin
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Boiler Room divulged their showcase X in the streets of Berlin ahead of the festival taking place midmonth. Their splicing of electronic artists galore across the weekend sets a precedent that keeps the collective at the forefront of club culture that will be sure to keep the city on beat.  

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WorkNotting Hill Carnival 2023
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UNCLE was a part of a moment filled with legacy over the bank holiday weekend, playing an integral role in bringing life to Notting Hill Carnival. The event comes to London streets once a year in an extravaganza of fashion, music, food and culture and never fails to spark joy amongst its attendees. Our clients cut through the crowds this summer as they were backdrop to a weekend packed with entertainment.  

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WorkRiot Party
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Riot Party are having fun causing a scene in the north with their upcoming event that champions the power of the community. The safe spaces they’ve created for their supporters have continued to grow in popularity with help courtesy of UNCLE who couldn’t resist bringing attention to the cause in Manchester.  

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WorkU2
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There’s no denying the success of group U2, their discography still having a hold on fans across the globe. They have released a limited-edition version of album Zooropa in conjunction with the records 30th anniversary and UNCLE covered Berlin’s hotspots with news of the release to the delight of fans across the city.  

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WorkThe Prodigy
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No strangers to making noise, group The Prodigy took to the streets of Manchester to shout about their show in the city. The campaign is part of a larger tour for the electronic pioneers that sees the international prowess of the collective, having now been on the scene for over three decades. Manchester was happy to be home to the army of ants. 

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WorkDuke + Dexter
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The new drop from Soldier Boyfriend and Duke + Dexter marked a significant moment for the brand’s signature loafers – with them being reimagined for the collaboration. Their creatives oozed class with a photo of Soldier serving suave and he seemed to think so too, the brand also took to their socials to use our traditional formats in the digital.  

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WorkDICE
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It’s time to go international for events brand DICE with UNCLE pasting their posters from New York to Barcelona. Using snapshots from event nights as their creative backdrop, onlookers saw club culture brought into focus. This bold and ‘to the point style’ kept in cool in key cities in combination with the enticing slogan ‘more of the shows you love’.  

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WorkConverse
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Converse have taken neon to a new level in Paris whilst spreading the word of a transformative event run by creative director Jean-Jacques Ndjoli showcasing the next wave of music. Using a creative combination of light, sound and dance, this experimental event meant sparks flew for an evening of self-expression. UNCLE showcased the Parisian event ahead of its execution with a furry of colour and pattern. 

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WorkAnother Mag Spring 2023
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Another Mag presents its new Spring/Summer 23 issue titled Mirror with a metallic wash of colour in nine vivacious covers. In their typical fashion their covers are home to a plethora of cover stars – a notable addition being Cate Blanchett donned in Comme des Garçons as she talks her Oscar nomination for latest movie Tar. Their bespoke hoarding is a canvas fit for the contemporary magazine and its alternative creatives.   

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WorkBoiler Room UK
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Boiler Room has always been a keyhole into the underground so aligning with cutting edge streetwear brand Perks and Mini on a collection seemed a no brainer. A distorted logo merging the two brands was emphasised with a vibrant orange creative, that perfectly representing the psy-life heritage of P.A.M’s brand. The collection is available now – but you already knew that because of UNCLE. 

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WorkMiley Cyrus
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Miley Cyrus - Wildposting New York

Miley Cyrus is a master of reinvention, constantly evolving her sound and style; her latest era has seen single Flowers dominate across charts globally. The anthem celebrates independence, the lyric ‘I can love me better than you can’ – being a suitable quote to plaster the streets of New York with. The campaign also teases her upcoming album Endless Summer Vacation that will debut March 10th. 

Miley Cyrus - Wildposting, New York
Miley Cyrus - Wildposting, New York
Miley Cyrus - Wildposting, New York
Miley Cyrus - Wildposting, New York
Miley Cyrus - Wildposting, New York
Miley Cyrus - Wildposting, New York
Miley Cyrus - Wildposting, New York

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