FEATURE: Spotlight: Revisited: Lambrini Girls

FEATURE:

Spotlight: Revisited

PHOTO CREDIT: Joseph Bishop for NME

Lambrini Girls

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I am doing some…

PHOTO CREDIT: Jessie Morgan

features where I update and revisit my older Spotlight inclusions. Artists who I tipped for big things who, whilst further along their career than they were before, are perhaps not known to all. I want to make sure that those unfamiliar discover them. My next feature will revisit Lola Kirke. An artist I really love. For now, Lambrini Girls are back under the spotlight. Their incredible album, Who Let the Dogs Out, came out in January and is already an album of the year contender. One I think will definitely be nominated for the Mercury Prize this year. I will end with a couple of reviews for that album. Prior to this, I am including some 2025 interview from the Brighton duo of Phoebe Lunny and Lily Macieira. After some tour dates in Europe, they will be playing in the U.K. from 1st April. I would advise you go and see them live if you can. I want to start with an interview from DIY. In an interview from earlier this month, we learn more about one of the most important acts of their generation. Such an inspiring and empowering duo:

“Lambrini Girls, their vocalist and guitarist Phoebe Lunny explains, has always been “a passion project”. Born from the bones of a different band and a frustration with the Brighton music scene (and beyond), the project started in earnest when Phoebe met bassist Lilly Macieira-Bosgelmez - who’d been given 24 hours to learn the band’s set from scratch - and “something just clicked”.

Both were ambitious, determined to try and make music their career. More importantly, both were angry: about the ubiquity of misogynistic and homophobic ‘lad culture’; about the widespread occurrences of sexual assault at gigs; about the musicians and fans who perpetuate these behaviours. And so they set about addressing all these issues and more via the medium of fiery, three-minute punk scorchers - music that is virtually unignorable, intensely powerful, and utterly memorable.

“Hey mum / Why haven’t I had a boyfriend? / Um, maybe it’s because I’m potentially a lesbian?” Phoebe intones on debut single ‘Help Me I’m Gay’. Live, its performance involves asking the crowd to “put your hand up if you’re gay!” - something which can variously be “a celebration of people’s queerness” if there are lots of hands, or simply a way to show people that they’re not alone. And in encouraging this sort of community in others, the pair have gained confidence in their own identities, too. “I was a little bit more of a late bloomer with my sexuality,” says Lilly. “I started off saying ‘I’m half gay’, because I’m bisexual, and then with time I learned that actually, that’s not being half gay - [bisexuality] counts just as much. There are some parts of the queer community where you can be made to feel a bit invalidated as a bisexual person, so the band really helped me in that sense.

Elsewhere on Lambrini Girls’ 2023 EP ‘You’re Welcome’, tracks like ‘White Van’, ‘Lads Lads Lads’ and ‘Boys In The Band’ take aim at society’s deeply embedded problems with sexual harassment, with the latter placing the alternative music scene under particular scrutiny. Do they think that any significant progress has been made with tackling abuse culture within the industry? “In Brighton, it seems like people are being a lot more vigilant of it and opening dialogues,” muses Phoebe. “But I think there’s a lot of work to be done in London. It’s not a safe space; there are bands that are actively known to have done very dodgy stuff who still get to play the venues everyone else does.”

The first step towards stamping out these sorts of behaviours, the band believe, is “calling out your mates and believing victims.” Lilly explains that “we’re not trying to peddle a sort of inconsequential cancel culture where you hear something bad about someone then immediately cut them out. If someone is willing to take responsibility or explore the ways in which they might have hurt someone, that’s something really positive to go off.” The same can be said for their attitude towards the social discourse surrounding trans rights; in an era where social media has us primed to think in absolutes, it’s important to give people the grace to get it wrong (misgendering someone, for example) - providing they’re willing to learn.

“There’s ignorance on one hand,” says Phoebe, who is currently sporting a Lambrini Girls cap emblazoned with the words ‘FUCK TERFS’. “Then there’s wilful ignorance. There are people who are being actively hateful and are trying to stop other people just having human rights.” But, as Lilly acknowledges, “fifty years ago we’d be having this conversation about homophobia rather than transphobia. So I’d like to hope that [trans rights] will change with time.”

Phoebe also points out that these conversations shouldn’t centre around the band. Rather, their goal is “to show allyship and use [their] platform to bring these conversations into a slight mainstream” - something they believe is intrinsic to being a punk artist. “If you’re building your platform off politics, you have to put your money where your mouth is. If you’re a political punk band, then you do have a degree of responsibility to use your platform for good.”

So, having taken on the Twitter TERFS and a whole host of fragile male egos, next on the agenda is dismantling toxic patriotism and romanticised notions of national identity. Their upcoming new single, ‘God’s Country’, paints traditional ideas of ‘Englishness’ as stories we tell ourselves to distract from the grim reality. “It’s delirium,” shrugs Phoebe. “I think it’s embarrassing to be from England. We’re extremely racist; we’re extremely xenophobic; our government are fascists. I don’t understand why anyone would be proud to be part of that.” Lilly herself is Portuguese and Turkish, but notes that “these dynamics exist in every country, and it doesn’t really look that different. Patriotism is really dangerous because it’s a huge generalisation of a really complex thing, and because [it means] you’re not actually looking at what’s really going on.”

No topic, it seems, is off limits for Lambrini Girls - and with more new music in the pipeline, they’re only going to get louder. “I think how you incite positive change is by making sure you’re not just preaching to the choir,” nods Phoebe. “As much as it is about enforcing safe spaces and making people feel validated, it’s also about making people question themselves. I wanna piss some people off; I want Rishi Sunak to be in the back of his fucking limo and hear Lammy [Steve Lamacq] play ‘God’s Country’ on the radio and shit his fucking pants.” She pauses. “Actually, I reckon he listens to Radio Four or Radio Two.” What about getting Lambrini Girls on Woman’s Hour? “That’s the plan,” Lilly smiles. “Unironically, it kind of is - to get to a position where we’re reaching the people who need to hear it”.

I have been a fan of Lambrini Girls for a while now. It is great to see them succeeding and getting huge love. Their debut album was taken to heart. It is one of the most impressive and important debut albums I have heard in years. Next, let’s go to CLASH and their interview with Lambrini Girls. Things are blowing up for them right now. Such huge demand and attention coming their way:

“You’ve been on the go quite a lot – it must be pretty intense at the moment. How are you doing?

Phoebe: That’s a question! To be brutally honest, obviously very happy, very excited with how everything’s gone. And quite burnt out and overwhelmed by everything!

I haven’t left my house since Sunday, I’ve just been in bed. But that’s also on me for drinking loads of pints when I should be resting. All in all, very happy, just a bit frazzled.

Lilly: Pretty much that! This is the first time we’ve had some downtime in a long time, and I fear it will be the last probably until September. It’s been really exciting – much more exciting than I anticipated with the album. So I guess we have to do as much as possible now and then rest when we die.

How did it feel to see the sort of reception the album got – Number 16 in the charts?

Phoebe: The charts said they were predicting us to be number three. So it meant managing expectations kind of went out the fucking window. 16 is amazing news. We’re very happy, and thanks to everyone who bought the album, we got number one in the Rock Charts, which means we have a trophy. Because at the end of the day, it’s not about the cultural impact or the art, it’s about trophies!

What’s it like creating an album as opposed to, say, an EP?

Lilly: I mean, it’s more songs, innit! [laughs] I think the campaign surrounding the album was also a lot more rigorous than an EP campaign. I suppose albums are the first major stepping stone in any band’s career.

It’s felt like the first big thing we’ve brought out, and it’s something we’d not really experienced before – like, the amount of press and photoshoots we’ve been doing was pretty unexpected. We’re extremely happy about it, because it’s nice that people care about the album and want to know about it. It would be terrible if that wasn’t the case, to be honest!

In terms of the writing and recording process, it’s pretty similar. It’s just that you’re in the studio for longer and there’s a sense of finality about it, because you know that a debut album is so important in the industry and people really look out for it. You feel like it has to be perfect. You’re showcasing yourself more so with an album than with an EP. It’s just very intense.

Phoebe: I think there’s more pressure, because as Lilly said, it’s seen as the first stepping stone. It’s a hallmark of a band’s career – how it’s received, the reception that you get, how many sales it makes, all of that can have a massive impact.

I found it really fucking scary. Luckily, we didn’t have this problem, but my biggest fear was that if it didn’t go well, everything would stay the same as in, us going to the Netherlands for a month and playing 30 shows there, and doing the same thing over and over again, and not being able to get better gig slots.

So it was scary to think that might not end if the album didn’t go well, but it has! And now, I feel very optimistic and excited for what’s going to come of this year.

You’ve got a lot of live dates coming up, how are you preparing?

Lilly: I’m still recovering, to be honest, from the year that we’ve had, and I’m trying to get in as much ‘me time’ as possible. You don’t lead a very normal life when you’re doing what we do, so I wouldn’t say I’m ready just yet. I need this next month to mentally prepare and regain my strength and my energy a bit, just because it has been really intense and non-stop. I think if we were to go out now, I would have a really bad time.

But nonetheless, I’m excited to play shows consecutively again, because we’ve been doing a lot of one-offs, which meant a lot of travelling for not a lot of playing. We’ve been doing lots of, as I call it, extra-curricular, in the sense that we’re doing loads of press and photo shoots and interviews more so than playing gigs, by far, over the last few months.

I’m definitely still trying to get rest in, trying to mentally prepare, trying to organize things for myself to do to keep me grounded on tour. I’m gonna start a new book series to help me get through and give me something permanent to take with me.

What do you do to unwind?

Phoebe: Um, I’m not very good at unwinding! So when it’s really, really busy, or we’ve been doing loads of shit every day I really struggle to switch off.

So if I come home to an empty, dark room, I’m like, ‘Absolutely not. That’s not happening. I’m going down the pub.’ I’ll do that, and then I’ll burn myself out even more. It gets to a point where I can’t leave my bed, and I’m like, ‘Oh shit, I’ve done it again.’ I have to rot for a few days, and then it gets really busy again, so I do it all over again. When it comes to unwinding, I haven’t really got that figured out, and I don’t know when I will, but that’s what I do.

Lilly: I don’t think I do such a thing as unwind, because I get so burnt out that I’m the complete opposite to Phoebe. As soon as I step through my front door and it’s just quiet and home, I just deflate completely; I’m essentially rendered entirely useless for five to seven business days.

And it takes me time to wind back into normality again, you know? I come home and I can’t do anything. I can’t do laundry, I can’t tidy, I can’t cook food for myself. I just sleep as much as possible and do nothing. And I’ve got nothing going on behind the eyes. So I do that for a few days, and then slowly introduce normal things back into my life, like having breakfast or doing my laundry. It’s not really a case of winding down and more just internally imploding.

In terms of the album, have either of you got a favourite track at the moment?

Lilly: I think for both of us, our favourite track is ‘Special, Different’. Oddly enough, we seem to be the only ones! But I’m not surprised, because I am the type of person to really, really love and be obsessed with the one track from an album that isn’t the popular one. And that’s never on purpose. There just seems to be something about those kinds of tracks where I’m like, ‘Oh yeah, I really like that.’

For me it’s both because of the lyrical content and also the the musicality and the musicianship of it. For example, it’s the only song I’ve ever played where I play all four strings of the bass. I’m usually a one note type of type of girl. I think the parts are really interesting, the dynamics are really impactful, and I think it shows off some versatility in our playing.

I find the lyrics especially moving. We have angry songs, we have uplifting songs, we have upbeat songs, but this one feels quite dark, which I think makes the lyrics stand out even more. I’m a very emotional person and I really like very emotional music, also on the sad side. I hear a lot of pain in the lyrics, and I really relate to that pain, and that makes the song very special and very different to me [Phoebe laughs].

On that note, when you’re making music, do you tend to come up with the music or the lyrics first?

Lilly: I think it’s different for every song, like, sometimes you’ll have a bunch of lyrics in your notes that are ready to go, and sometimes Pheebs will just write on the spot, like, with ‘Bad Apple’ I know that that was an idea that [Phoebe had] already been working on. And when we wrote that, it was me and our drummer, Jack Looker, who wrote and recorded the album with us – we were pissing around together and came up with a rough instrumental.

Phoebe went silent for about 20 minutes, half an hour, and came in like, ‘Right! I’ve got lyrics. Let’s do this.’ So, I think it differs. I’ll let [Phoebe] explain.

Phoebe: I think you’re putting it really well – it does change, like, sometimes I’ll have a bank of lyrics, sometimes we’ll start the songs with Lills coming up with a bass riff and work around that, I’ll fit lyrics to it. Sometimes it’s a guitar riff, which I’ll try and fit lyrics to.

Sometimes, like with ‘Bad Apple’, it’ll be a case where lyrics are written to a track even if there’s already a theme that I’ve got for an idea of a song, but usually it is sort of a cut and paste with lyrics and instrumentals.

It’s just like a kebab. And sometimes it feels like throwing shit at a wall with me and my lyrics, I throw shit at a wall and see what sticks. Sometimes things flourish and come together super easily. But it sometimes just feels like a bit of a mix-and-match, I would say. That’s a good consensus for how we go about it when it comes to marrying the two”.

PHOTO CREDIT: Jessie Morgan

Before getting to a couple of reviews for Who Let the Dogs Out, I want to come to an interview from Kerrang!. As much as anything, Lambrini Girls want us to drop the ‘women in music’ genre. Not singling women out that way. If you have not followed Lambrini Girls yet then make sure that you do as soon as possible:

“Homophobic attitudes were pretty rife in the era Lambrini Girls grew up in. The 2000s may be looked back on through a rose-tinted lens of Motorola flip-phones, baggy jorts, and the golden era of emo, but the only household name gay rights hope? Hillary Duff in that one ‘Think Before You Speak’ TV campaign.

Internalised misogyny also pressured a generation of young girls into thinking they shouldn’t be like other women, and it was near impossible to escape harmful narratives of fat shaming and diet culture throughout the media.

In what is possibly the most personal song on the record, Nothing Tastes As Good As It Feels dives into how this dangerous fascination with body shape tragically affected many young minds.

“I think most young women have been conditioned their entire life to have your total sort of idea of what’s healthy and beautiful be totally distorted,” Phoebe explains. “I think it’s also very hard to know when you’re actually struggling as well, because you’re ultimately praised and encouraged to do it more. I thought if you can hear someone singing about it albeit quite graphically, it might help you feel a little bit less alone. Maybe it [will] encourage people to feel like it’s okay to talk about a bit more. It’s very lonely, extremely lonely. People suffer and don’t reach out.”

Who Let The Dogs Out is a huge stride forwards from You’re Welcome, and an album the pair hope spotlights their instrumental work just as much as the messaging within it. Not only does it unpick a litany of issues close to Lambrini Girls, but it shatters any assumptions made about their artistry as a punk band.

Phoebe and Lilly deserve their flowers as guitarists, and their ear for crafting and producing songs is far more tangible through experimental instrumentals, deft finger-plucked motifs, and dynamics that chop and change to support the narratives they lie beneath.

“I personally want people to listen to our actual music a little bit more,” shares Lilly. “We get labelled a three-chord punk band a lot, and that irks me a little bit because I don’t think we are. I’m hoping people get more involved in the music and the songwriting. Obviously, we’re a really outspoken political band and that’s kind of at the core of our identity, but I think sometimes people forget that we’re, first and foremost, musicians.

“I think another layer to it is that we’re also two very femme-presenting people, so naturally when people make comparisons about our band, we get compared to other political bands that sound absolutely nothing like us, rather than being compared to bands that we actually sound like. I find that a little bit frustrating sometimes.”

Since their inception, Lambrini Girls have often been touted as a riot grrrl band, taking inspiration from the era born in the '90s, and trailblazed by bands like Bikini Kill and Huggy Bear. In its time, the movement was instrumental in creating space for women in music.

Now in the 2020s, as our musical landscape is growing richer with brilliant and diverse bands, highlighting the presence of women can sometimes feel tokenistic. Bringing their gender into the conversation, Lambrini Girls feel, is counterproductive to equal representation and opportunity.

“Getting called a riot grrrl band is very much not a sign of the times anymore,” says Lilly. “We’re not a riot grrrl band, we sound nothing like the riot grrrl movement. The movement was very political so I see why people would draw parallels, but at the end of the day it does feel like we only get called riot grrrl because we’re women. I think it’s time for the genre of ‘women in music’ to be put to bed and to just let queer people and women make music and stop differentiating it from men making music.
'Female-fronted', 'female guitarist' – these are the prefixes that make the pair groan and share an eye roll.

“I’d love it if people stopped doing that and maybe compared us on the basis of what we actually sound like rather than the fact that we’re women playing alternative music.”

As our interview progresses, it slowly shape-shifts into a weird form of group therapy. Going in, we were prepared to chat all kinds of nonsense about the sense of party that is bottled inside Who Let The Dogs Out, but beneath the noisy aesthetic is two human beings.

To assume they’re always “on” in this manner would be foolish. The more we delve into the thoughts and feelings of Lambrini Girls as people behind the music, and not the music itself, a calmer energy lends itself to us, where eyes can become a little teary and a sense of compassion can be shared among the two friends.

Lambrini Girls is their greatest escapade, and one of euphoria, triumph, and chaos. Our biggest achievements are often the result of upheaval and 'the grind', but with musicianship the struggle can feel never-ending, even when you’re smashing the festival circuit or earning loads of streams.

Conversations surrounding the constant pressures put on an artist opened up on a much wider scale in 2024. In the pop world, Chappell Roan was both praised and criticised for setting her own boundaries around self care and safety as an artist. Lambrini Girls feel it’s also important that we talk about these things, and there should be no shame attached to the discussion.

“It gets really fucking hard and sometimes you’re like, ‘Am I going to have a mental breakdown? Am I already having a mental breakdown? I don’t know!’” Phoebe questions. “For me personally, the thing that keeps me going is a deep need to want to do it, and also, what am I going to fucking do”.

I am ending with a couple of (the many) positive reviews for Who Let the Dogs Out. In a year that has already seen masterpieces from the likes of FKA twigs and Heartworms, Lambrini Girls have dropped an album that gained huge critical acclaim. As I said, this is going to be an early frontrunner for the Mercury Prize. NME awarded Who Let the Dogs Out five stars and had this to say:

“The world is currently on fire. Donald Trump has been re-elected as president of the US, women’s rights are under threat, transphobia is rampant across the world and violence continues to rain down on Gaza. To ring in this new year, Brighton punk duo Lambrini Girls come bearing a gift: ‘Who Let The Dogs Out’.

After opening for IDLES and playing huge festivals like Glasto and Reading and Leeds, Lambrini Girls are unleashing their balls-to-the-wall debut album. Packed with anger and raw energy, ‘Who Let The Dogs Out’ is a giant “fuck you” to the state of the world right now.

Guitarist and vocalist Phoebe Lunny and bassist Lilly Macieira get straight to the point with album opener ‘Bad Apple’, a distorted riot of a track that calls out rotten cops. “Officer what seems to be the problem? / Or can we only know post mortem?” Lunny demands in her signature raspy screech. It’s a haunting reflection of modern police brutality and misconduct which saw a 50 per cent rise in the number of police officers sacked and barred in the UK last year. Meanwhile, 956 civilians were reportedly shot to death by authorities in the US over eight years.

A bulk of the album sees Lunny and Macieira hold a mirror to the current fractured state of society. They take aim at gentrification in ‘You’re Not From Round Here’, where Lunny’s howled protest against the destruction of neighbourhood identity makes you want to unleash yourself in the middle of a mosh pit: “Town hall becomes a brewery / Furthering disparity / Drowning out sense of what was community.” Meanwhile, ‘Company Culture’ addresses sexual harassment within the workplace, and the electrifying ‘Big Dick Energy’ highlights dangerous male entitlement.

However, softer, personal moments from Lambrini Girls still shine through. Complete with a rolling, fuzzy bassline and pounding drumbeat, ‘Nothing Tastes As Good As It Feels’ takes on the struggle of an eating disorder, Lunny declaring:“Kate Moss gives no fucks that my period has stopped / I wish I was skinny / but I’ll never be enough.”

The anthemic ‘No Homo’, reminiscent of The Donnas’ early discography, sees the rockers infuse deep basslines and a fierce guitar solo with cheeky and witty yet vulnerable lyrics about a same-sex relationship: “I said I liked the way she talked / But then I said no homo / But her eloquence a renaissance / The softest tone well spoken”. It’s a bright and refreshing take on a topic that can be deeply, dauntingly personal and daunting.

With ‘Who Let The Dogs Out’, Lambrini Girls prove punk is alive and kicking. They’re unapologetically amplifying chaos, calling out societal wrongs, and daring us all to feel something. This record is loud, raw, and impossible to ignore”.

I am going to finish off with a review from The Guardian. Even if they awarded it four out of five stars – and there are plenty of reviews that show more love -, I did find Alexis Petridis’s take particularly interesting and relevant. I am excited to see where Lambrini Girls go from here. World domination lies ahead for sure:

“For the most part, Lambrini Girls’ debut album barrels along in roughly the style that’s hoisted the Brighton duo to cult success over the last few years. There are huge, distorted basslines courtesy of Lily Macieira and equally distorted guitar playing from Phoebe Lunny that flits between post-punk angularity and occasional bursts of poppier, Ramones-y chords. The rhythms are frantically paced, and there are lyrics that focus on societal ills, delivered in Lunny’s distinctive vocal style: she sings like someone angrily trying to make their point in a particularly noisy bar, as a bouncer struggles to usher them out of the door.

Combined, this music has drawn appreciative nods from a range of forebears including Iggy Pop, Kathleen Hanna and Sleater Kinney’s Corin Tucker and Carrie Brownstein. Iggy is so enamoured of the duo that he got them to collaborate on a version of Depeche Mode’s Personal Jesus that appeared alongside tracks by Andrea Corr and Rick Astley on a Trevor Horn-helmed covers album: improbable company in which to find a band whose first EP arrived in a sleeve featuring a pile of shit on fire.

But Who Let the Dogs Out’s closing track takes a different tack. There are synths, a four-to-the-floor disco beat and a hooky, chant-a-long chorus. In place of the aforementioned litany of societal ills, the lyrics offer a list of positive actions and scrappy pleasures: if you wanted, you could view it as a kind of Brat-era successor to Ian Dury and the Blockheads’ beloved Reasons to Be Cheerful (Part Three). In theory, it could be a cunning bit of career-building entryism, a shift from confrontation and aggression that could move Lambrini Girls away from 6Music’s recesses and playlists called things like New Noise, and towards a broader audience. In practice, not so much. The track is called Cuntology 101, it uses the word “cunt”, or variations thereof, 32 times in just over two minutes and ranks among its list of life’s small delights getting semen on your clothes, “shagging behind some bins”, “having an autistic breakdown” and – congratulations, we have a winner – “doing a poo at your friend’s house”.

You might thus surmise that Lambrini Girls aren’t at home with the concept of subtlety and you would have a point: in fairness, few punk bands ever did much business due to their refined understatement. But for all its unrelenting full-throttle approach and its way with a jagged riff – and Lambrini Girls are very good at coming up with jagged riffs – there’s a richness to Who Let the Dogs Out’s sound that suggests a range of potential routes forward. The rhythm of Bad Apple veers towards a drum’n’bass breakbeat. No Homo’s examination of flexible sexuality is spiked with sudden bursts of surprisingly sweet harmony vocals. Love twists and turns, dies away and gradually rebuilds itself, mirroring the narrator’s fretting over a failing relationship: “I love you so much it makes me feel sick, so hold back my hair until I stop.”

Most of the time, the lyrics focus on the kind of topics that have fuelled bands like Lambrini Girls for decades: police brutality (Bad Apple), toxic masculinity (Big Dick Energy, Company Culture), and what a generation of spittle-flecked Roxy-goers – now theoretically old enough to be Lambrini Girls’ grandparents – would have called “poseurs” (Filthy Rich Nepo Baby). Meanwhile, You’re Not From Around Here tackles gentrification, a topic so prevalent in recent US punk releases that one waggish writer dubbed it “the new Ronald Reagan”.

Of course, the fact that these topics are well worn doesn’t mean that they’re not still depressingly relevant. Bad Apple has very clearly been written in the wake of Sarah Everard’s murder – “hang the pigs that hunt your daughters,” Lunny rasps – while the issue of poseurs is compounded by issues of access in the 21st-century music scene, an era in which it’s substantially easier to get ahead if your parents are bankrolling you. More importantly, they tackle these issues with appealing scabrous humour: “Michael, I don’t want to suck you off on my lunch break,” snaps Lunny on Company Culture. The Kate Moss-referencing Nothing Tastes As Good As It Feels, a song that deals with eating disorders, balances its harrowing reportage with unexpected humour: “Also, diet drinks taste like absolute fucking shit.”

It makes you laugh even as it’s confronting you about something horrendous, which is not easy to do. Nor is seeding music that is nasty, brutish and short – that effectively spends half an hour screaming in the listener’s face – with this much depth and variety. It hints at a bright future: Lambrini Girls might be in the process of quickly screaming themselves hoarse, but you wouldn’t bank on it”.

An incredible duo who are definitely known to many but not all, I wanted to revisit them. Update my previous feature. Urge people to check out their music. Lambrini Girls are very much here to take over and be heard. It would be a fool who dares to…