Blog – LLIVELY Music

Interview with Caroline Larke

Could you introduce yourself and those that influence your music? “Hi! I’m Caroline Larke, a singer & songwriter based in the US. I recently released my debut EP, Late Bloomer, which features 4 new songs that explore topics of introspection, observation of the human experience, first love, mental health, and more. I’ve always felt like a Late Bloomer in many ways (and come from a long line of self-proclaimed, late-blooming women) and this EP is a short chronicle through the “blooming” as it occurs in different ways.”

“I’ve always felt very influenced by the creative women in my life and how they view the world with such open curiosity. Other artists that influence my music include Regina Spektor, Imogen Heap, Kimbra, Elvis Presley, Ella Fitzgerald (and the other greats – Nina, Etta). They all create in such unique ways that really light something up in my brain in a way that stands out to me.”

What inspires you to write and to keep writing and what is it that you mostly write about? “I’m always inspired by new experiences and people – by traveling and interacting with life as much as I possibly can. I process everything through writing. It often makes more sense to me than regular conversation – though that’s very important too, of course. I write about everything. The human experience, the way people live, how I feel in the world, history, love, mental health, communication, being human. It sort of just finds you and you greet it as a friend.”

What are some of your proudest musical achievements so far and what do you still hope to achieve? “Anytime I see someone in the crowd experiencing something personal. Usually their eyes are closed and they’re connecting with themselves or the moment in some way. That always feels really special to me, that I get to be a part of that connection by doing what I love to do. Additionally, the first time I worked up the courage to play live, out in the world, in front of people. That changed everything. More recently, I received the Emerging Artist grant from the Durham Arts Council, which helped me gain the resources I needed to finish the final songs on my EP and release that out into the world.”

Could you share some of your current favourite artists with us? Big or small! “Absolutely! Regina Spektor, Imogen Heap, Elvis Presley, Kimbra, Tegan & Sara, Marina, Hozier, Billie & Finneas.”

What is next for you within your musical career? “I’m ready to dive in and do as much as I possibly can. I’m currently planning a U.S. tour for my recent EP, Late Bloomer, which just released, and there’s a European tour in the works for next year. I’ll also be starting production and recording for my debut album soon, which is very exciting. From there, festivals and any opportunity to connect with music lovers around the world.”

What song do you think our followers should be listening to right now and why? “‘Baby Sinner’ and ‘Horses’ are both great ones to start with. Lyrically, I think they both offer important stories, especially for the times. Sonically, they are very melodic and gentle. From there, I recommend checking out the rest of the EP, where you’ll find ‘Another Song’ and ‘Spirit Guide’. I have a few Christmas songs out too that I recommend giving a listen. ‘First Snow’ is available on streaming, and ‘If You Were A Metal Pole’ and ‘Come With Me For Christmas’ are only out on YouTube right now. All three feature a unique take on the holidays from a less common perspective that I hope people will connect with.”

Review: New music releases

The world is full of weird and wonderful sounds, and willine‘s in-depth French-spoken rap is a new favourite I’d never have thought would be for me. ‘Unseen’ is filled with emotional and slightly distorted electronic elements colouring its soundscape. A song more within the range of music I usually listen to is Caroline Larke‘s ‘Another Song’ which showcases her stunningly breakable voice and a softly wandering soundscape driven by warm guitar sounds, another is CYRILLE‘s ‘Backlash’, which is dark and thrilling, the pop rock track is a slower paced version of the dark rock arena bands I’d go see at the Utilita.

A cinematic new pop release came in the form of James Tonic‘s ‘Fold Down’, which also makes an appearance on his latest album ‘Safety’. A touch of shimmering pop elements has only ever brightened up a playlist and will do so again with this one. Last of my favourite new discoveries is Spanish indie outfit Red Moon Yard‘s ‘Queen of my Sorrows’ with is a welcome and comforting indie release with warm vocals, listening like a comforting friend when in need of one, and it’s got a lovely live video too!

Our first sold out LLIVELY Showcase

In a world as unpredictable as the one we live in currently everything is a gamble, which is even more the case for promoters within the creative industry. However, the creative industry is home to me, so I got myself some nerves of steel and a no-stress attitude to deal with it. Ahead of our first LLIVELY Showcase I checked ticket sales nearly every five minutes, and when we were finally nearing a sell out I started to relax a little. That was right before one of our three performing acts called in sick… Luckily my network of incredible professionals came to the rescue and helped us complete the line-up once again.

We started the year at a small and intimate space, ran by one of our regulars, The Gait Clinic, a space you wouldn’t usually expect live music in but that worked incredibly well for our first showcase. The evening was kicked off by Manchester-based singer songwriter Cameron Yorke, who’s recently joined NAME Sunderland and has been working with Dan Donnelly on his original material. Bringing in-depth song writing and a fun performance, Cameron was the perfect opener for the evening. Up next was an artist I’ve known and been working with for about seven years, Harrison Rimmer truly knows how to entertain, with both his music and his stage patter. He played songs old and new, including his new single ‘Better In Fiction’ which is due for release this May and will be followed by a nationwide tour!

Last of the evening was brilliant singer and songwriter Joe Doonan, he brought his heart-wrenching sad songs and I didn’t bring enough tissues, I should’ve known better. ‘Joel’s Song’ and his upcoming single release ‘before you leave’ both nearly had me in tears, take what you will from that but as Doonan mentioned; music is cheaper than therapy, so really I just got a free therapy session!

A very heartfelt thanks goes to my wonderful friends, team of sound engineers, photo- and videographers, and those that bought tickets to the first LLIVELY Showcase, because I wouldn’t be able to pull these events off without any of them! Our next showcase is taking place on the 25th of January from 1pm at The Movement Clinic, and I already can’t wait.

Photos by Lauren Peters

LLIVELY Music’s 2025 in Review

We organised 43 events at 39 grassroots venues, supported 152 grassroots artists, booked 4 tours and managed 24 PR-campaigns. We made memories at 12 festivals and 41 ballet shows and could not have done any of it without our team, our sound engineers and our photographers!

A warm thank you to Fever who trusted me with their We Call It Ballet shows throughout the year, the wonderful team at Aelius Alternative who worked with me to put on another incredible edition of the festival, Stockton Calling, Edinburgh’s Usher Hall, Vestrock, Coast Fest, Ouseburn Festival, Solfest, The Gathering Sounds, and Musicport Whitby who all trusted me with stages, artist accreditation and box offices.

Thank you to Un-Convention, Curated Place, and CREW GAL for sharing your wisdom and network, This Feeling for having me join the team as the north east rep, and every single person that gave me a reason to smile through a shared coffee, glass of red, a dance, and or a natter, it’s been an absolute pleasure.

LLIVELY Music is going into 2026 as part of the AIP, with three tours to look forward to, and some incredible news to share very soon… Is it 2026 already?!

Beyond 2026 Kick Off

We’re excited to kick off 2026 live at Beyond Vinyl at Newcastle’s John Marley Centre. Join us on Tuesday 6th January from 7.30pm for an intimate night of live music. We’ll be celebrating incredible emerging artists in an inclusive and community-driven space with live performances from Henry Wright, Hannah Robinson, and Tim Gambles.

Beyond Sessions is all about showcasing great songwriters, creating a relaxed listening experience, and bringing people together through music, and we can’t wait to start the year with you and this wonderful collaboration. LLIVELY Music aims to showcase talents from across the world through music PR, live bookings, and event management and creates inclusive spaces for those that would like to be a part of something unforgettable.

Tickets are available here, the Facebook-event can be found here, and we hope to see you on the 6th of January!

Introducing: LLIVELY Showcases

On the 14 January, we launch the next chapter of our secret live showcases under its new name; LLIVELY Showcases. Building on three years of carefully curated, intimate performances, we continue our commitment to creating meaningful live music experiences in unexpected places.

Kicking off 2026, these showcases will be celebrating the region’s rich and diverse creative industry. Alongside outstanding performers, we’ll spotlight the people, organisations and spaces that make our local scene as wonderful as it is.

Supported by a passionate team of professionals, LLIVELY Showcases will bring incredible international artists into unusual settings, from bars and cafés to clinics and studios, highlighting the North East’s brilliant independent businesses. Come as you are; connect, create, and celebrate community through music and art.

Tim Gambles releases ‘Gravedigger’

Alternative rock artist Tim Gambles unveils his powerful new single ‘Gravedigger’, with a short film out on YouTube on the 3rd of December, and the single available on all streaming platforms on the 10th of December! The single will be followed by a series of UK shows and an EU tour in 2026.

Written about the emotional fallout of a toxic relationship, ‘Gravedigger’ explores vulnerability and manipulation from someone finding you at your lowest and turning it to their advantage. Yet, Gambles encourages listeners to forge their own emotional connection to the song, inviting personal interpretation.

The track highlights another dimension of Gambles’ artistry; his striking vocals wrapped in a vibrant, thunderous alt-rock soundscape. The single proved a fan favourite at a sold out Sofar Sounds Newcastle show, leaving audiences both captivated and converted.

For the video of ‘Gravedigger’, Gambles worked with his friend, video- and photographer Krzysztof Furgala, as well as artist and painter Richard Ellis. He met Ellis through the live music scene, where Ellis can often be found painting performing artists on the spot.

Tim on the video for ‘Gravedigger’: “‘Gravedigger’ is about two conflicting parts that can make up a person. That is what the whole video is about; for everyone there is a dark and a lighter side. This video is about letting that darker side take over more and more, even though maybe you shouldn’t… The video depicts that darkness taking over and becoming the main part of you. The girls that you see in the video, they’re society or maybe even your friends and family, watching as things unfold. They either don’t realise what is happening or don’t know how to do anything about it, and this can feel isolating and perpetuate the darkness takeover. The scenes in which we see Richard the painter show this lighter side, while at the end we realise there has always been a dark shadow watching over you…”

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Un-Convention 2025: A Collaborative Look at the Future of Music

Staying optimistic in today’s music industry can feel like a full-time job, but the spirit of perseverance was impossible to miss at last month’s Un-Convention, held across two days at Manchester’s Band on the Wall. Bringing together international artists, venues, festivals, innovators and organisers, the conference served as a reminder of why the industry keeps going; collective resilience, curiosity, and the desire to build something better.

The event opened with a State of the Nation panel that cut straight to the heart of the challenges facing the sector. Speakers tackled issues ranging from the rising operational costs that prevent venues from hiring staff, to the need for risk-taking, nurturing talent, and ensuring opportunities exist on everybody’s doorstep. A key theme emerged early and echoed throughout the conference; many conditions long accepted as “normal” in the music industry wouldn’t be in any other industry.

Conversations turned to structural change, how venues might be recognised by local governments as serious businesses, how touring grants could reshape sustainability, and how we might safeguard grassroots artists in an era of AI. Not every question found an answer, but Un-Convention has always been more about sparking the right conversations than providing quick answers.

Regional pride ran strong, with the north’s rising cultural prominence spotlighted through major events such as the Mercury Prize in Newcastle, The BRITs in Manchester, and Radio 1’s Big Weekend in Sunderland. Panels on independent labels, led by Music Ally’s Joe Sparrow, offered pragmatic insight into resisting trend-chasing, creating real-world experiences, and building flexible models that fit artists, and not the other way around.

Between sessions, Scott Cohen’s fireside conversation with Un-Convention co-founder Jeff Thompson was a standout. Cohen’s journey from early tech experiments to founding The Orchard was a reminder of how unconventional thinking has always propelled the industry forward.

Day two shifted towards the practical realities of survival. The Road to a Thriving Live Industry panel made clear how fragile the ecosystem remains; venues under 400 cap, the backbone of the UK’s grassroots touring circuit, are unable to make a profit under current conditions. The Jacaranda team illustrated a new kind of resilience, as they operate not just as a venue, but also as a record store, and national promoter to diversify revenue and stay sustainable.

Discussions also turned to the LIVE Trust ticket levy, a developing initiative aiming to redistribute revenue across the sector. Speakers noted that some of these industry initiatives might need to be reworded or reframed to win wider acceptance, even when the underlying goal is universally beneficial. Earlier in the day, panels on mental health from Skiddle, Headstock, Tonic Music, BAPAM and artist Shocka emphasised the need for accessible information, better visibility of support organisations, and clearer language that encourages artists to seek help early on.

What makes Un-Convention special is its mix of honesty and hope. Nobody pretends our problems aren’t real, but for two days in Manchester, it felt like the solutions might just be within reach.

Aelius Alternative: First Wave of Artists Announced

Aelius Alternative makes its third return to Newcastle city centre on Saturday the 18th of April 2026 and we have just announced our first wave of artists that will be performing the festival!

An overwhelmingly talented pool of musicians from Tyneside, Teesside, and further afield is joining us for a day filled with incredible live music across 4 stages! Hannah Robinson, Be Quiet. Shout Loud!, Hels Pattison and Risco will be performing and Inglenook will make their return after an overwhelmingly well-received set at Mosaic Tap earlier this year.

We’ll be working with local promoters Marisam and TYNE + QUEER, Sunderland’s NAME Academy, Gateshead’s Station East, Twice Brewed, Off Axis, and Scottish management agency Night Owl on bringing artists from all over the place to Newcastle to showcase their talents.

Tickets for the festival are available here.

Generator Live Conference: Inspiration, Discussion, and Connection

Most inspirational quotes that inspire me or make me feel understood come from musicians, but from now on, they come from The Cluny’s Ross Lewis. During the Generator Live Conference he spat some incredible truths into our faces and it got him the most applause I’d heard all day. I didn’t write them all down, because I couldn’t type that fast, but if he’d write a book, I’d read it.

He wasn’t the only inspirational speaker during the Generator Live Conference, so I thought I’d share my thoughts of the day with you. I started with the panel on advancing accessibility and inclusion, led by local artist and activist Ruth Lyon. Lyon has clearly led panels before as she made sure every single panel member got a word in and was able to express their feelings regarding the issue that is the lack of inclusion for those with accessibility needs within the grassroots creative sector. Panel members Ben Price, Damian Weatherald and Dr Claire Renfrew highlighted important barriers, such as important conferences being too fast-paced and overwhelming, a lack of connection between levels within the industry, and the need for accessible venues.

Claire highlighted the importance of redefining the term musician, since that no longer just entails “being able to make music and perform”, musicians have to wear the hat of graphic designer, manager, booker, content creator, and many others, to be able to create a sustainable career within music. The weight of those roles weighs heavy on all musicians, but even more so on those with mental health issues or for example a neurodivergent disability, which is something often forgotten about.

The importance of including those struggling with neurodivergence was highlighted to me a mere few hours after I attended the panel as I had a conversation about musicians with crippling ADHD. We can’t blame them for the way they tick, and as an industry we need to do better to support them. Claire also mentioned an example of a way to make networking more accessible, by utilising mentors that can act as a link between those struggling to network and those they’d like to network with. Most important was the note to work with those that have accessibility needs, instead of against them, because in the end they are the ones that know best what it is they need.

I then headed to the neighbouring room for a talk about touring in an age of costs, cuts, and clicks, and honestly, I’ve never witnessed a more depressing talk. Instead of repeating the depressing numbers that were shared, I will share an uplifting experience I’ve had just last week; I booked a tour for a grassroots indie Americana duo that have barely played outside of their hometown and got six shows confirmed for them in a few days time. Every show will get them a fixed fee, they will stay at friends and family, and will sell their merchandise at the aforementioned shows. Another example; I booked an eight-date tour for a Dutch band who earned over £500 in income from merchandise sales. And yes, you can too. Curious how? Don’t be shy.

We could only really go up from there, so with fresh energy I sat down for Beyond Boundaries: Fuelling Cross-Media Collaboration which inspired me to think outside of the box and think of different ways to promote events and engage audiences, as well as to include influencers into PR-campaigns and offer sessions to demystify the world of PR. After that Nic Coaker led a discussion on how brands move through music cultures, which made me rethink my approach to brand collaborations. Often we wonder what a brand could do for us, how much they could pay, or how many items of clothing they could offer, however collaboration should, as with anything, be our focus. Brands don’t always know how to best collaborate or tap into their audiences, or that of an artist, and they won’t ever be able to reach the audience of you, or me, as that is uniquely ours. That is where our strength lies.

By this point, I felt as if I had absorbed all information I could, and I’d exhausted my networking capabilities, yet I found some energy to listen to Sybil, Jasmine, Charlie, Ross, and Salomeja about the future of independent venues. As mentioned at the start of this post, Ross Lewis truly took the spotlight here, highlighting the need for connection, finding common ground with those that enter independent venues, as well as pulling those that might not usually wander in, into those venues. He also highlighted that the grassroots support levy, despite the good it would do, is paid by our own money, while our government should redistribute their resources and support the grassroots creative industries. However, they’re too busy spreading hate and division to be willing to do that…

A real solution to the problems grassroots venues face wasn’t found, yet we all wholeheartedly agreed that we are not a breed (creatives that is, as a figure of speech) that gives up easily and that connection and keeping at it would be the way forward, so find your local independent venue, promoter, festival, and or artist, and stick to them like glue, and as we’ve done for decades; we’ll survive.