Scarlett-haired songstress Lights is no stranger to baring all, having released accompanying acoustic records to all of her past studio releases. The Canadian has never been afraid to trade her usual electro-pop synths with just an acoustic guitar and her gravitating voice. 

Releasing unplugged reimaginings of her innovative and anthemic fourth album ‘Skin and Earth’, Lights has continued to think outside the box, offering a real look into the soul of the songs. In her own words “what you’re getting in these recordings is flaws”; instead of recording in a standard over-sanitized studio, each song on the new album has been captured in a different location, bringing her music to life like never before. Whether it be in a car or the middle of the desert, the environments she places herself in becomes a vital part of the story, both lyrically and sonically.  

Not only has ‘Skin & Earth’ always sounded deeply personal lyrically, the record is also strongly conceptual. Telling the story of the album’s accompanying comic book series, Lights is a constant creative and the acoustic version offers a new angle for the listener to invest in both her music and the atmosphere of the story she has invented. 

Starting on a clifftop rendition of ‘Skydiving’, you are taken aback by the gentle atmosphere of Lights’ approach. A clear theme throughout the record, by slowing the pace down, it feels like the singer is taking you on a brand new journey rather than treading old ground that’s been heard before. Hearing her perform ‘Savage’ in the rain, delicately whispering the chorus, it creates a more sombre tone to the lyrics. Matching the scene in the comic’s environment, a bedroom recording of ‘New Fears’ puts her perspective of connection with others in a haunting and passionate new light whilst making every chord she plays sound more powerful than any synth could ever do.

‘We Were Here’ is arguably the most inventive and ultimately successful use of Light’s surroundings. Being laid down in a tunnel, the singer’s soothing voice and the euphoric chorus reverberate in inspired fashion. Elsewhere, the inner conflict of ‘Almost Had Me’ shines more than you’d ever expect acoustically, performed in the desert as the personal tale makes you want to reach for the tissues. 

Next to a river, with the calming sounds of a stream of water in the background, hearing ‘Kicks’ stripped back is almost unrecognisable compared to its original recording. Offering new levels of emotion, this version gives you time to digest the lyrics and the natural beauty of Lights’ voice without her usual accessories getting too involved. 

Finishing on three new tracks that will more than satisfy any fan who has been waiting almost two years for new music. The latin-flavoured ‘Lost Girls’ in particular stands out, putting this arc of her story to a close in a spectacular rally-cry fashion, making you want to go paint the town redder than the singer’s hair.

Lights has continued to add branches to the conceptual universe she has created and her delicate new renditions of ‘Skin & Earth’ fits in perfectly. Beautifully crafted from start to finish, her raw acoustic tendencies might be growing in a different direction compared to her usual stye, but the emotional depth of the record grants her songs a brand new lease of life.

Louis Kerry

The weather is grim (what would a festival be without rain?!) but spirits remain high as we make our way from stage to stage (to stage… to stage…) to enjoy this year’s outstanding lineup.

Words: Yasmin Brown [YB] / Tom Walsh [TW] Images: Penny Bennett / Matt Higgs

It’s always a happy surprise when the first band on your list of acts to see also happens to be one of your favourites, and this was almost certainly the case for plenty of Slam Dunkers this year. Boston Manor are causing a ruckus; ruffling feathers with their controversial yet insightful views about the world today and – of course – those of us who inhabit it. As a result, they’re connecting with their fans in a way they never have before, resulting in absolute mayhem when it comes to their live shows. Taking to the stage with his face covered in a white balaclava, front man Henry Cox is every bit as lively and energetic as you’d expect from someone who wrote the angry lyrics that make up the band’s sophomore album, ‘Welcome to the Neighbourhood’, and the rest of the band aren’t far behind when it comes to energy levels, bounding around the stage and feeling every moment of their 30 minute set right down to their core. And we feel it, too. From a man on crutches fearlessly crowd surfing, to the three minutes of cardio the crowd happily agrees to as one mosh pit turns into an exercise regime, there isn’t a moment of calm. Cox’s vocals are on form, seamlessly transitioning from clean to rough vocals, and the band work tightly together to put on what many might already feel confident in calling the best performance of the day. [YB]

NOFX have brought a little gift to Slam Dunk this year. The Punk In Drublic tour has been making waves across the US and Europe, and Fat Mike has bestowed this celebration of double time drums and craft beer onto Yorkshire and Hatfield. Who better to wake the early crowd from their slumber than Anti-Flag? We’re entering an era where the smell of revolution is thick in the air and Anti-Flag have been a band forever willing to lead the charge. Every song sounds like a battle cry; from the confrontational opener of ‘Die for the Government’, to the raging ‘Fuck Police Brutality’, there is no let up in intensity, even if it is still very early in the day. Closing with ‘Brandenburg Gate’, both bassist Chris Head and drummer Pat Thetic climb down into the crowd to thrash through the last few bars. Just like that, everyone seems very much energised for the day ahead. [TW]

It’s barely 2pm but there’s already strong competition for most energetic performance of the day, as one reunion we all hoped for – but never expected would come to fruition – is realised. Busted are back, baby, and turning up to the Key Club stage just five minutes after the start of the band’s not-so-secret set sees many fans struggling to catch a glimpse of the stage as they sing along to ‘Air Hostess’ from outside the crammed tent. Initially, it’s strange watching pop-punk fans crowd surf to a band whose fanbase in 2003 consisted mostly of 10-year old girls, but when you consider that those 10-year olds are now in their mid-twenties, it all starts to make more sense. Everyone loves a nostalgia trip, and although Busted make sure to add some of their newer releases to the setlist (‘Nineties’ goes down a treat), that’s exactly what this performance is. That’s not to diminish this band’s talent, though. Charlie continues to be host to one of the most recognisably soothing and husky voices in the industry and, as a band, they sure know how to amp up a crowd. As they close the set with ‘Year 3000’ – singing about naked, triple breasted women – it feels as though this is exactly where Busted belong. [YB]

Over at the Impericon Stage, US metalcore band Wage War are laying waste to the tent. It’s an impressive Slam Dunk debut from the Florida natives, as they combine chugging, melodic riffs with the dual vocals of Briton Bond and Cody Quistad. Dipping in to their studio albums ‘Blueprints’ and ‘Deadweight’, it is their latest single ‘Low’ that reverberates around the tent. Wage War do hark back to a metalcore genre of circa 2010, but the soaring clean voice of Quistad provides that stand-out factor. [TW]  

Despite their Australian roots, Trophy Eyes are embraced like family for the duration of their set on the Marshall stage. Not once did the energy let up, with both crowd and band working tirelessly to make this one of the most memorable sets of the day. It’d be easy to assume that smaller stages such as this and the Dickies stage often see fans just passing through, killing time or trying to unearth hidden gems among the bigger names, but Trophy Eyes seem to have pulled in a dedicated fanbase made up of people who connect to this band’s often painful yet incredible music. As the set draws to a close, and Trophy Eyes launch into ‘You Can Count on Me’, there’s a huge sense of togetherness, reflecting the lyrics and creating that safe, comfortable space that so many of us turn to music in order to find. They’re talented musicians, sure, but it’s this ability to create a community that makes them really, really special. [YB]

If you had ever wondered what it would be like to see an amalgamation of a well-built Mick Jagger and Jim Morrison front a hardcore band, Turnstile are here to make that dream a reality. Brendan Yates brings all the sass and swagger that would make these rock and roll icons nod in approval. It feels like a riposte to the often machismo ethos within sections of the hardcore scene to see Yates strut around the stage before hotfooting up the tent support poles. It is not just Yates’ flamboyant performance we’re here to see, Turnstile crank out some delicious chugging and grooving riffs. The thrashing melodies and the guttural screams demonstrate why they are quickly becoming the must-see hardcore band in town. There is an extra treat for the uber Turnstile fans as they end on ‘The Dream’, plucked from their very first EP. [TW]

As streaming and miscellaneous playlists take over from the traditional, structured way of listening to music, genres are becoming muddled. No longer can you honestly say you exclusively listen to pop-punk or hardcore or metal or pop – while many artists have their roots, most are taking influence from elsewhere and Our Hollow Our Home are no exception. Their set is a glorious combination of metalcore and hip-hop, making their heavy sincerity incredibly catchy, too. As a member of the crowd, this means you can dance as much as you can mosh, and they grab this opportunity firmly by the throat, propelling themselves at one another while also fulfilling their dreams of being an extra in the Step Up movies. It’s intense, it’s emotional, it’s raucous and, most importantly, it’s really bloody fun. It’s everything a Slam Dunk performance should be. The wall of death feels anything but frightening as fans help one another off the floor without skipping a beat, immediately throwing themselves back into the pandemonium caused by the equally mad scene occurring on stage. If you haven’t heard of Our Hollow Our Home, it’s about time you rectify the situation. [YB]

The Interrupters’ rise has even taken the band themselves by surprise. “We’re still wondering how we got here”, guitarist Kevin Bivona announces as they begin their short and sweet Punk In Drublic stage set. Their latest record, ‘Fight the Good Fight,’ has gained traction among the punk scene eager for much more of those nostalgia-filled Rancid-esque riffs and anthemic protest songs. It is a hit-laden set with vocalist Aimee Interrupter leading the masses to chant back the words to ‘Take Back the Power’ and ‘She Got Arrested.’ They blend the ska-punk vibes throughout, before ending on the duo of the massive ‘She’s Kerosene’ and the arm-in-arm anthem of ‘Family.’ [TW]

If ever there was going to be a time during the day for a singalong, it was going to be during Simple Plan. Ever wise to their fanbase, their setlist comprises mainly older material, taking the crowd back to the angst-ridden days of their youth. Despite the inherently melancholy nature of songs such as ‘I’m Just a Kid’, ‘Welcome to My Life’, and set closer, ‘Perfect’, front man Pierre Bouvier doesn’t for one second stop smiling, likely due to the “I say jump, you say how high” kind of obedience the crowd are providing him with. This set reminds us exactly why and how this festival started in the first place; it’s the epitome of hating this town (wherever that may be), and feeling misunderstood, yet paradoxically, in this moment, these pop-punk kids have never felt more understood. This much is clear through the passion with which each crowd member sings the lyrics back at the band and how, even after almost 20 years, Simple Plan still draw in the masses as though it’s still 2001. While we know these songs like the back of our hands, there are still some surprises in store, as we see beach balls being launched at us to reflect the theme of ‘Summer Paradise’, and drummer Chuck Comeau switches spots with Pierre, launching himself into the crowd during his five minutes as the ever popular lead singer. If nothing else, this set is proof that Simple Plan are timeless, that we’ll always stay loyal to our pop-punk origins, and that everything is more fun when inflatable beach balls are involved. [YB]

While Slam Dunk definitely has a reputation for being a pop punk festival, it wouldn’t have been the same these past few years without some of the heavier bands that have graced stages such as the Jägermeister, Punk in Drublic, and Impericon. This year in particular, one of the most notable bands that fit into this heavy category is Story of the Year. Effortlessly packing out the Jägermeister tent, they waste no time with slow build-ups, choosing instead to launch straight into it, blowing our minds (and our ear drums, for that matter) the moment they take to the stage. While this band has a back catalogue of five studio albums, there’s a portion of the set where we find ourselves watching an emo cover band taking on all of our favourite tracks of the early 2000s. Story of the Year gave new life to My Chem’s ‘I’m Not Okay’, Taking Back Sunday’s ‘Cute Without the ‘E’’ and The Used’s notorious ‘Taste of Ink’. The highlight, however, is a little more off-brand, as they launch into Yellowcard’s ‘Ocean Avenue’, only to be joined by the pop-punk band’s front man himself – William Ryan Key. While it does seem strange to fill such a short set with covers when your band’s history stretches back 14 years, Story of the Year more than prove their unwavering talent through their unrelenting energy and ability to make old songs feel new again. [YB]

“This is the reunion of the year!”, Liam Cormier triumphantly declares. Cancer Bats are back in the UK for what feels like the thousandth time this year, and they’ve come to party. Cormier is hyped to see all of his friends and the swelled crowd are hyped to one of Canada’s finest exports – after maple syrup and curling. With the pleasantries out of the way, it’s time to get this place moving and Cancer Bats know exactly how to do it. All the stars come out for this 40 minute set with newer tracks ‘Brightest Day’ and ‘Winterpeg’ sounding even more huge. The biggest pops, however, are naturally reserved for the anthemic ‘Hail Destroyer’ and ‘Pneumonia Hawk’, which features a hugely enthusiastic cameo from Pagan’s Nikki Brumen. Cormier has been to this rodeo before and knows how to elegantly command his baying public, and he plays the role of conductor in the breakdown of the homage to the Beastie Boys, ‘Sabotage’. During the breakdown, he implores quiet and you can almost hear the breeze of the oncoming storm waft through the Impericon tent before launching into a rasping scream to signal the crescendo of an end. The chugging riff of ‘Gatekeeper’ brings its all to a close and, yes, now we’re fully warmed up. [TW]

“It’s time to get angry,” declares grandson, aka Jordan Benjamin, as he launches into his 30-minute set inside the Key Club tent. For any fan of grandson, this comment seems redundant, as a large part of his appeal is the anger that infiltrates each one of his songs, but still, we listen, and boy do we get angry. Everything about grandson is incendiary, from his ‘RIP America’ t-shirt, to his speeches about forceful yet peaceful resistance, and it’s only natural that anyone in his presence gets fired up too. If passion is the fuel, the tent is a wildfire, and we are set ablaze. While much of what grandson has to say is fuelled by the dire state in which much of the world currently finds itself, it also encourages positive change, and this is never more apparent than when he asks us to turn on the lights on our phones, and to look around to see just how other people can light up your darkness. There are moments where you might feel bummed out by grandson’s message – and for this he earnestly apologises – but ultimately what this performance is, is a reality check. It opens your eyes to the truth of the world and refuses to allow you to turn a blind eye to the mass shootings, to the systemic traditions that lead to endless cycles of poverty, poor mental health and sheer desperation. As grandson beats his chest and spreads his arms in avidity, you can’t help but feel his passion, too. His performance has all the elements of a great rock show, but it also leaves you feeling empowered, energised, and like you have the ability to make a difference. It’s a rock show, sure, but equally, it’s undeniably a political statement. And for this, as grandson confidently and vehemently states, he will not apologise. [YB]

There is something just effortlessly cool about The Bronx. Whether its Matt Caughthran’s beaming grin and southern Californian drawl, the mustachioed swagger of Joby J. Ford, the grooving tunes, or the raucous atmosphere that their shows create, it’s just done with an attitude oozing cool. The LA hardcore punks stride out on stage and straight into the ode to the working class, ‘The Unholy Hand’. Caughthran’s gruff voice screams of the hardships of being in dead end jobs to make ends meet, before pausing to remonstrate to everyone that we need to “live for today, forget tomorrow, just enjoy everything right here and now”. A huge rendition of ‘Shitty Future’ follows. Caughthran’s presence swings between rock and roll legend to preacher to local comedian, with an aura surrounding him, yet still seeming like someone who’d happily share a beer with you. The Bronx front man continues, “you’ve got a great thing going on here Leeds, there’s so many good and a couple of bad bands, but that’s all cool”, which is met with a knowing laughter from the audience. The Bronx treat us to a rare outing of ‘Cobra Lucha’ before Caughthran drops down into the pit to get up and close with his adoring public, reiterating the mantra of “forgetting tomorrow” before joining the crowd surfers for a celebratory version of ‘History’s Stranglers’. The finale sees him being triumphantly carried back to the stage – this is how a cool party ends, right? [TW]

Four years have passed since Gallows last took to a stage and the rustiness shines through in this highly disjointed set. From the moment they have to stop opener ‘Misery’ so front man Wade MacNeil can join the somewhat static pit, the tone has been set, and bassist Stuart Gili-Ross offers an apology – “sorry, we haven’t played these songs in years.” Fans begin to look on in amusement as Gallows approach the nadir of the set by thrashing into their calling card track ‘Abandon Ship’, only for MacNeil to sing the lyrics for ‘Belly In The Shark’. The faux pas causes another restart and another apology from Gili-Ross. Even the appearance of Liam Cormier to share vocal duties on ‘Last June’ and a shoulder-shrugging cover of The Ramones’ ‘Blitzkrieg Bop’ can’t save a mess of a set. While this maybe a fleeting appearance from Gallows, it is notable that the band opted against airing any tracks from the outstanding ‘Desolation Sounds’ album, instead going for the fan favourites of ‘London Is The Reason’ and ‘Come Friendly Bombs’, which have always felt awkward in the post-Frank Carter era. Ever since the departure of the Carter brothers, Gallows have seemingly struggled to forge a proper identity and break free from a sound that made them so special. While this 12-song set did give fans that pang of nostalgia, it is not one that will have them clamouring for new material. [TW]

With the layout of the Key Club stages, the transition between sets remained smooth throughout the day, with one band setting up on the left, while another played on the right. This means that the aggression and anger that flowed through the crowd during grandson’s set quickly dissipates when LIGHTS takes to the stage, filled with attitude and her sultry and powerful vocals. This is LIGHTS’ first time playing to UK crowd in some years, but you’d never guess that she’s been on a low-key hiatus with the number of fans that fill the tent, singing along in delight to every song. For those who may be unfamiliar with LIGHTS’ music, however, we’re treated to a cover of Cher’s ‘Believe’, ensuring that everyone in attendance felt equally involved as each other. Making her way into the crowd for ‘Moonshine’, gripping onto fans’ desperate hands, LIGHTS proves herself to be an excellent performer as well as a talented musician, and Slam Dunk is lucky to have her. [YB]

As anyone who has been to Leeds Festival can attest, an outdoor music festival in Yorkshire is a blatant provocation to the Rain Gods, and Slam Dunk North’s first open air event falls victim to a springtime downpour as legendary punks Bad Religion take to the stage. A little rain isn’t going to dampen the excitement for one of big hitters of the Punk In Drublic stage, though, as Greg Graffin pokes his head out into the steady rain with a beaming grin before launching into ‘Them and Us’. It is a big year for Bad Religion with their first album in six years, ‘Age of Unreason’, taking a typical repugnant look on the world from one of the original political punks. Even as they near 40 years as a band, there is a still vehement anger and this courses through newer tracks ‘Chaos from Within’ and ‘My Sanity’. The riffs are there in abundance, squealing from the guitars of Brian Barker and Mike Dimkich, while Graffin’s signature vocals are as soaring as ever. They take us on a tour through their extensive back catalogue with favourites such as ‘Generator’, ‘Social Suicide’ and ‘Sorrow’ making the diehard fans forget all about their increasingly damp clothes. There’s even space for a rare outing of the excellent ‘Skyscraper’ and the raging ‘Fuck Armageddon…This Is Hell’. The closing double header of ‘American Jesus’ and ‘Punk Rock Song’ finish a frantic, energetic set, and provide a timely reminder that Bad Religion are the undisputed kings of punk. [TW]

It’s left to the band whose seminal album inspired the name of the stage they stand on to wrap up proceedings on the Punk In Drublic stage. As the rain continues to fall, NOFX struggle to continue the standard set by Bad Religion in a slapdash, plodding set. While they have never been renowned for their live performances, there is something entirely sluggish about tonight’s closing act. Fat Mike’s rambling monologues seem to cause agitation among a now sodden crowd with one audience member exasperatedly shouting “just play a fucking song”. When NOFX finally get into their rhythm there are early renditions of ‘Bob’ and ‘The Brews’, which kind of feel like bargaining chips to keep the hardcore fans interested. Much like Bad Religion, NOFX’s latest record ‘First Ditch Effort’ felt like a sea change in the band’s approach with much more personal and angry tracks. There are airings of the excellent ‘Six Years On Dope’ and the poignant ‘I’m So Sorry Tony’, before which, Fat Mike gives a heartfelt ode to the late Tony Sly, whose death provided the inspiration. NOFX finish on a celebratory note with ‘Linoleum’ and a cover of Bad Religion’s ‘We’re Only Gonna Die’, to rectify what threatened to be a damp squib of a headline set. [TW]

While we’ve been consistently soaked by varying levels of precipitation throughout the day, it turns out that All Time Low might actually be pop-punk’s very own Mother Nature. Not only has the downfall cease just in time for their headline set, but everyone in attendance is delighted to note that ATL have “made a rainbow, you motherfuckers! One whole rainbow!” As well as the stunning scenery that now surrounding us, with it being 10 years since the release of the band’s sophomore album, we’re treated to an ode to what many maintain is All Time Low’s best release to date – playing eight out of the 12 tracks on ‘Nothing Personal’, including a cameo performance from Waterpark’s Awsten Knight on fan favourite ‘Break Your Little Heart’. Tears are cried during ‘Therapy’, but quickly dried when the gates to the stage are opened and countless fans join All Time Low for a manic dance party during 2011’s ‘Time Bomb’. Despite Jack Barakat’s countless inappropriate comments, and minor confusion caused by Rian altering the finale of ‘Lost in Stereo’, it’s an otherwise joyous end to an incredible day. [YB]

Slam Dunk continue to bring in the best bands and artists from our world, and we can’t wait to see what next year has in store for us.

Joining the likes of All Time Low, NOFX and Bad Religion, are Lights, Wage War, Plain White T’s, Hellogoodbye, Touche Amore, Tigers Jaw, Wallflower, Employed To Serve, Microwave and Our Hollow Our Home.

Slam Dunk will take place in Leeds and Hatfield on the 25th and 26th May respectively, and tickets are available here.

Check out the current lineup below.

With an intro that’s nothing less than what’s to be expected from a LIGHTS album, the angel-like chorus of vocals is sharply interrupted by the glittering pop track ‘Skydiving’. It’s very current, sounding influenced by todays pop landscape whilst still containing LIGHTS’s trademark warbles and synth lines. The album remains sleek and trendy sounding with perfect pop production until ‘Savage’ knocks you sideways. Interrupting the gentle tropical bounce of ‘Until The Light’, the gritty guitar line is impulsive and turbulent, the chaotic drums intensifying the already moody atmosphere.

What’s apparent on ‘Skin & Earth’ is how melody writing seems to come so naturally to LIGHTS. Each lyric and sound is placed so particularly as to elicit a specific mood and feeling, nothing’s been left to chance. This is especially apparent on tracks like ‘New Fears’ and ‘Moonshine’ which are both glossy and precise without sacrificing any feeling. Going from brooding verses to an elated chorus happens time and time again on ‘Skin & Earth’. The only time this formula falters is on ‘Giants’, where the tempo change is a little clunky, but with the lyrical content to match these lows and highs it ensures the listener is truly in her world.

‘Morphine’ is the most reminiscent of past releases, building the track with breathy vocals and delicate melodies, barely moving forward and instead keeping to a lulling pace throughout. The low-key moments continue towards the end of the record, with ‘Magnetic Field’ being suitably ethereal for a LIGHTS’ song, ebbing and flowing over drum machines and a repetitive vocal melody that only makes it more hypnotising.

Showing off in her ability to trespass into other genres, the bassline in ‘Fight Club’ is suitable for clubs the world over yet doesn’t sound even slightly out of place on this indie synth-pop record. It’s a nice pick me up for the tail end of the album with a danceable beat that really indulges in being a fun pop track.

Always pushing forward with her music and refusing to let genres define her output, LIGHTS has managed to take her music further again with ‘Skin & Earth’. Melding together two separate passions of hers into a cohesive body of work is impressive, and the final result is something that has many layers to it so fans can dive as deep as they choose. With ‘Skin & Earth’ LIGHTS has created a space for escapists and dreamers to get lost in for as long as they need to.

Tickets can be purchased here from iamlights.com, with the news coming ahead of Lights upcoming album and comic book release, ‘Skin and Earth’.

Lights is good at what she does, and to quote her twitter: ‘I can tickle a gnarly synth’. She also has an angelic voice, and alongside her arrangements she creates some majorly inoffensive, catchy synth orientated pop tunes. At times the songs become rather samey, and we’ve all been in the situation where Twitter becomes more interesting than parts of a gig.

That said, it’s an enjoyable evening nonetheless, and with new album ‘Siberia’ out very soon (at the time of writing), this serves as the perfect setting to air a load of the new tracks such as ‘Banner’, ‘Everybody Breaks A Glass’ and ‘Flux And Flow’, while still giving fans of the older material something to leave happy about.

As we leave amongst the giggling flocks of teenagers, we were a little underwhelmed by the evening, but Lights is a born entertainer and a positive energy, and no doubt has great things to come.

RYAN COOPER

Let’s get some background on Lights. You’ve been making music since an early age – do you remember when you first started writing?

I grew up in a very music-centred family so it was around the house all the time. I used to live in the Philippines, I grew up there – it was a scary place in a lot of respects and I’d have a hard time falling asleep. My Dad would be downstairs playing his acoustic guitar and the sound would drift into my room and that’s how I’d fall asleep every night. If something has that much power to naturally make you feel that everything is going to be OK, you gravitate towards it. When I was eleven my Dad bought me a guitar and I started to play a few chords, at thirteen I bought this little 8-track. I think I’m fortunate enough to have started at an early age to get moderately good at what I do! I have way more to go and I have to get a lot better but I I’m still young so have a bit of time to work on it.

Growing up you moved around a lot from Canada the Philippines to Jamaica. How much did that affect your writing?

I wouldn’t say the music of those cultures inspired my music directly, but more the experiences I had travelling around and what I learned from them. Firstly there’s the fact that I grew up moving around a lot so it set me up for touring perfectly – not being able to maintain long distance relationships, living out of a suitcase and all those parts of the cause – I’ve gotten pretty good at it now!

Despite your electro-pop sound we understand you’re in your metal and hardcore as well. You’ve covered an Architects’ song for starters…

Oh man, I love the Architects and they’re local right?! I do like my metal. Initially I started listening to a lot of music my Dad listened to like The Beatles and Eric Clapton – all the good song-writers. That put a good foundation of song-writing into my head and taught me what a good melody was. After that I went in a lot of directions. I started to gravitate towards metal and punk – the first band I was ever in was a metal band – I played guitar. I was in a pop-punk covers band for a while – I went through an angsty period where I just wrote hate songs as well! I listened to a lot of different kinds of music when I was growing up and I think it all contributes to what I write now.

So can we expect a Lights-fronted hardcore band somewhere down the line?

Maybe! (laughs) Maybe a side-project or something – we could call it ‘Hating Life’. No, we’d call it ‘Awesome’.

Tell me how you came to adopt the name ‘Lights’. I understand it’s now your legal name as well…

It comes from my last name – Poxleitner. It became a nickname after a while – Poxleitner is a bit of a mouthful to say! When I made my Myspace page, that’s what I put up – it felt natural, it felt right. About a year later I made the legal change – It’s one of those things you do like getting a tattoo – it’s a permanent change that takes a bit of effort and a bit of pain, but once you get through it, it’s awesome!

(Lights’ manager gives us the last question signal)

OK Finally – Have you got a release date for your new album ‘The Listening’ in the UK? Details are very vague!

Not a release day yet, but it’s coming out in May – definitely May! I want it to be out right now, but I’m happy to come back in May so I will be back around then…probably! It’ll be like a year anniversary since I played the Great Escape down here in Brighton so I will have to come try and play here again!