Columbia Mills

Columbia Mills

21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189848

Columbia Mills

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Columbia Mills made their highly anticipated return with their new single “Close To You”  –  on October 19th. Driven by their signature, relentless, electronic textures complimenting the core live element of the band; the song pushes constantly  towards a robotic, elated climax.

Front man Fiachra Treacy’s lyrics provide a thoughtful, complex counterpoint to the layers of man and machine that his bandmates provide.

Treacy says “while the song deals with personal tragedy, the overarching theme is how we judge and criticise other people’s behaviour. If we stop to look at ourselves, we’re all flawed in similar ways. We’re all the same”

On the back of two powerful and emotive sets at Electric Picnic this year, where the band played new material including Close To You.

DJ Hype

DJ Hype

21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189849

DJ Hype

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He was an early DJ on one of London’s pirate stations, Fantasy FM, and has been popular on the international DJ circuit, landing awards for Best Male DJ and Best Radio DJ (in 1994 and 1995, respectively) at the U.K.’s Hardcore Awards. He is also one of the London radio station Kiss 100’s main attractions, and was a player in Suburban Base’s compilation series, ‘Drum and Bass Selection’. A champion of jungle’s dancefloor purity, DJ Hype has also rallied consistently against jungle’s compartmentalization into artificial “scenes” in the late 1990s.

DJ Hype began producing in 1989, engineering and co-producing tracks (including chart-toppers such as ‘Exorcist’ and ‘The Bee’) for hardcore staples Kickin’, Strictly Underground, and Suburban Base. Although he never lost touch with his breakbeat roots (even going so far as to spin hip-hop instrumentals over house tracks to add a bit of rhythmic flair), it wasn’t until he launched his own Ganja label in 1994 (with the single ‘Cops’) that he began seriously focusing on the post-rave possibilities of sampled breaks.

The Ganja label gained almost immediate popularity, primarily through floor-fillers such as ‘You Must Think First’, ‘Tiger Style’ and DJ Zinc’s ‘Super Sharp Shooter.’ That popularity peaked with the release of their first LP in 1996: ‘Still Smokin’, a label compilation released jointly by Ganja and cohort Pascal’s Frontline imprint. The album became one of the highest-selling independent jungle compilations. Re-released in 1997, its success also led to a major label deal with MCA’s Parousia sublabel and the establishment of True Playaz, a DJ Hype-led DJ and production unit also including DJ Zinc, Pascal, and Rude Bwoy Monty.

DJ Hype is known for his jump up DJ sets, headlining and smashing up dancefloors at the monthly Playaz night at Fabric (club).

Le Boom

Le Boom

21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189850

Le Boom

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Le Boom  are one of Ireland’s new music success stories having garnered 850k + streams for their two singles thus far. Christy Leech and Aimie Mallon have quickly become one of the most sought-after new acts in Irish music.

Their electronic house-pop is a rush, it starts dance parties. Between Leech’s falsetto and Mallon’s manic percussive energy, there’s an infectious buzz in their music.

Since the band formed in Summer of 2016, the duo have brought their electro-indie-house-pop show to cities such as New York, Reykjavik, Cork, Belfast, Galway, their hometown of Dublin and festivals like Latitude, Body&Soul, Electric Picnic Truck Festival, Castlepalooza and Independence.

LE BOOM’s debut single release, What We Do, received airplay on both US and Irish radio. It featured in the Summer 2017 ad campaign for Vodafone and has over 450k plays on Spotify.

Their second single Don’t Need It Now was released in November and has garnered Spotify New Music Friday and Hot New Bands features and over 250k streams.

They were recently picked by PRS for a London showcase in the PRS office and their tracks have featured  on  a Failte Ireland tourist board ad representing Dublin and a recent Vodafone summer festival ad campaign.

The band’s third single Coma was released on April 6th ahead of appearances at The Great Escape and Primavera this summer and a sold out 650-cap Button Factory gig in Dublin city and a run of dates at Irish festivals.

Hermitge Green

Hermitge Green

21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189851

Hermitge Green

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Hailing from Limerick, Ireland, Hermitage Green have made a large impact in a short period of time. After having released their first full length album via SONY Ireland and watching it climb the charts with tracks like Quicksand, Not Your Lover, and Save Your Soul, the band has been touring internationally to sold out rooms across Ireland, the UK, Middle East, Australia and the US.

Now the band is back after having spent months in world renowned Rockfield Studios in Wales where their new recordings share company with the likes of Queen, Robert Plant and many others.

With Grammy winning producer Matt Lawrence (Adele, Amy Winehouse, Mumford &Sons) at the helm of this record, the band has created an EP entitled Gold & Rust consisting of 6 progressive sonic masterpieces. 2018 will see the band continuing to tour the globe.

“Gold & Rust – the title was inspired by a lyric that Darragh Griffin wrote in the song ‘Bring It On Down’. I suppose as an album title it represents the many contrasts of being in a band in 2017. The ups and downs, highs and lows, whatever you want to call it… From playing the mainstage at Electric Picnic, to getting laughed out the door of a bank when looking for a mortgage. From walking out of a sold out Olympia Theatre in Dublin, to playing to 7 people in a town somewhere in the U.S. From telling your bandmates you love them and would do anything for them, to trying to kill your bandmates because they piss you off sometimes. ‘Gold & Rust’ is the dichotomy between the struggle and the absolute privilege of doing what you love for a living.”
Dan Murphy of Hermitage Green.

Wild Youth

Wild Youth

21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189852

Wild Youth

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Wild Youth are a four-piece who stormed the Spotify Viral Charts and held the #1 spot for two weeks with their first single. With influences ranging from Imagine Dragons, to The XX, The Script, and The 1975, they play a melodic brand of pop-rock with electronic touches. After a freak accident left Conor O’Donohoe, songwriter and keyboards, with a prolonged period of rehabilitation he took up the guitar to pass the time.

His new passion caused him to shift his focus from college and sports to composing songs in his shed with childhood best friend Dave Whelan, singer.

With the recruitment of guitarist Edward Porter and drummer Callum McAdam, Conor found two musicians that could breathe new life into the songs he had composed. The four then locked themselves away for a year writing new songs and developing their sound. In 2017, they emerged with “All or Nothing”, which amassed over half a million Spotify streams.

Their second single, “Lose Control”, received heavy rotation on radio stations and led to sold out headline shows in Dublin and London. They soon found themselves invited to support artists such as Niall Horan, The Script, and Zara Larsson on arena sized shows, and drawing huge crowds to their festival slots across Ireland and the UK. Currently splitting their time between Dublin and London, writing and recording their first album, Wild Youth look set to big one of the biggest acts of 2018 and for many years beyond.

Two Door Cinema Club

Two Door Cinema Club

21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189853

Two Door Cinema Club

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Gameshow 2016

Some bands peer into the abyss. Others dive in headfirst. Others still find the abyss grows inch-by-inch around them, and only the greatest bands climb out.

This last of these scenarios is the story of Two Door Cinema Club, from the outside one of the greatest alt-pop success stories of the decade. It was fan-driven fairy-tale stuff; three seventeen-year-old schoolfriends from Bangor Grammar School in County Down – singer Alex Trimble, guitarist Sam Halliday and bassist Kevin Baird – form a band in 2008 inspired by the fresh mutations in post-landfill indie rock of Foals and The Maccabees, but with a succulent melodic twist all their own. Only plucky French indie label Kitsune wants to sign them and media pay them about as much attention as a tramp busking ‘Yesterday’ yet, ditching plans for university, they throw themselves into the perma-touring life, hungry for self-built success.

Gradually, it grows. Encouraging an online connection with their fans and taking time to meet people after their club shows, they build an ardent online fan collective calling themselves The Basement People. Concentrating their live efforts to promote 2009’s debut EP ‘Four Words To Stand On’ across the globe rather than in the UK, they spread Two Door Cinema Club membership far and wide. A nod in the BBC Sound Of 2010 barely touches the under-the-radar impact they’re making, as the fourth hardest-touring band in the world over 2010. That year’s debut album ‘Tourist History’, recorded at London’s Eastcote Studios with producer Eliot James and featuring such huge but radio-shunned tunes as ‘Something Good Can Work’, ‘Undercover Martyn’ and ‘What You Know’, is out for six months and the band have sold out Shepherd’s Bush Empire twice before huge tentfuls of fans – 30,000 at a time – climbing guy-ropes, crowd-surfing and singing along to every word across the 2010 festival season force the media to wake up and smell the Cinemania.

“It’s the best possible way to break through anywhere,” says Sam, “if it comes from the people as opposed to mass media telling people what to like or whatever. The big moment was when we played Shepherd’s Bush Empire and radio had to go ‘hang on a sec, we didn’t tell people to like this, we should probably start jumping on board’.”

“It makes me feel really good when I think back on it,” Alex agrees, “although it was difficult at the time because although we had so much support online from real people, none of the big guys would acknowledge us. Most media ignored us at the beginning but looking back it’s great that we still persevered and made it through and eventually people started to take notice.”

And how. Fans clamber on top of their van in Mexico to mob them and steal Kev’s glasses. They’re chased through the streets by hordes of fans in Tokyo. Bikini babes and surfer dudes clamour around them in California. Jimmy Fallon’s on the phone, they’re suddenly given VIP queue-jump passes straight to the top of radio playlists and on rare days off, turning on the TV, they’re bombarded with their own music to the point where they annoy themselves. ‘Tourist History’ goes platinum – TDCC are declared the epitome of millennial guitar pop success, a new alt-rock sound and industry model for the information generation. What a ride.

Trouble is, when the dizziness kicks in, the ride doesn’t stop.

In six rare weeks off in 2011, TDCC holed up in a shared house in Glasgow to write second album ‘Beacon’, recording the album with Jacknife Lee (U2, REM, Bloc Party) at his studio in Topanga, Los Angeles. A mature, melodic and widescreen consolidation of their sound, with added New Order beats and M83 synth fuzz, it rocketed to Number Two and cemented the phenomenon that was pursuing them around the globe.

“Both albums that we did, the success almost chased us,” Alex explains. “We might tour the UK and nothing would really happen for us, then we’d leave and a couple of months later something would happen there. We’d be in America at the time where nothing was happening, then after we’d leave something would happen there. We were never really around to experience any of the big moments.”

“It’s like you’re planting all these seeds everywhere and it grows as you’re off somewhere else,” says Sam.

Their success really caught up with them at Alexandra Palace in London, though. “Ally Pally was phenomenal,” Alex recalls. “I was so sceptical at the time that we would be able to do that. It’s ten or eleven thousand people which, even in a big city like London, didn’t feel like something we could accomplish. I’ve a much healthier relationship with our success now but I had a very warped sense of where we stood in terms of other people’s perceptions of us as a band and I was very insecure about it for a long time. So to walk onstage in Ally Pally to a completely packed crowd and have all ten thousand people sing along to almost every song we played was an incredibly emotional moment for me.”

But between its autobiographical tales of life on the road – ‘Pyramid’ concerned a hallucinogenic ritual the band were treated to in Mexico, ‘Handshake’ was about the time a tramp tried to stab Alex in a London park with a broken bottle – ‘Beacon’ was full of hints of fracture. Homesickness, loved ones left behind, off-tour insomnia and dope dreams all crept into the likes of ‘Next Year’, ‘Sleep Alone’ and ‘Someday’ and the title of the album reflected how the band had become the all-consuming focus of their lives. They were, in effect, blinded by the beacon that was TDCC.

“We just pushed it too hard for too long,” says Alex. “We had so many opportunities to take a break in the six years or so that that lasted, but we didn’t. We toured for a couple of years and then we made a record while touring, we were in and out of the studio after festivals, back in making a record, then we were out on tour for another two years. And then again, we made the second record while we were still touring and then back out on tour for another two or three years. That’s not healthy for anyone. We became absolutely defined by the band and nothing else. That’s the point in your life, for most people, when you go out into the world and meet people and discover your values, your real interests; you form opinions about different things. As everyone has probably always known, from the outside we’re very different people and we were constantly afraid to deviate from what the idea of who we were and the band was.”

“If you imagine there’s three of Steve Jobs,” Sam adds, “all as passionate and the company means everything to each person because that’s all you do, but you’re all trying to pull it in totally different ways, it can’t fulfil everyone.”

“I think we’ve made music in past, maybe more so on the second album, which we didn’t necessarily want to make,” says Kevin. “We didn’t feel, ‘oh yes, we really want to make an album’, it was more like ‘we’ve got to make this album, capitalise on the momentum’. It’s like a business conversation when it shouldn’t be one.”

So, once two years of touring ’Beacon’ wound up with a sold out show at London’s O2 Arena in December 2013 and after their headline set at Latitude 2014 was cancelled when Alex was hospitalised with stress-induced stomach ulcers, the band – signed to Parlophone in 2013 – decided to take a lengthy break to give themselves space from each other, take their focus off the band and the rising passive-aggressive tensions within it, battle their various demons and work out who they were outside Two Door. Alex moved to Portland in Oregon and, after a period of troubled-rock-star seclusion, began exploring other creative outlets such as writing and photography – he toured the US in a mustang with a photographer friend for an exhibition entitled Mustang Margaritas – and developing an interest in eastern philosophies and meditation. Kevin moved to LA to conquer his anxiety issues and Sam settled in London, got married and enjoyed life as a house husband. When they reconvened in mid-2015, all tensions shed and free of the sense of contractual duty that had suffocated them (obviously we’re doing this now because we want to do it, which is a really nice feeling as opposed to ‘we kind of have to’,” says Sam), TDCC found a new lease of creative life. Largely via email.

“We realised, for whatever reason, at that moment in time it wasn’t going to work, the three of us being in a room together trying to write a song,” Kevin explains. “We’ve tried that so many times in the past and we were quite guilty in coming up with the thing that offended each of us the least rather than the best thing. So we did a lot of it over email, which was great. Everyone had that extra layer of protection of ‘I’m not in the same room, I can send an email, close my laptop, drop the bomb and leave’.”

Over the course of five months the band pieced their third album together from their home bases. “We shared it and commented on what each other had done, what we liked, what we didn’t like,” Alex says. “We threw our ideas on top of each other’s and pretty soon after we went straight into the studio [with Jacknife Lee in LA once more] and made it. It was so quick and organic and very naturally occurring. We waited until the right time and it was certainly the right time. There was no overthought, there was no anxiety, there was very little self-consciousness. It was very much a train-of-thought record, we got on board and we rode it until it was finished.”

Challenging themselves to indulge a wide and varied range of styles and influences stretching way beyond the traditional Two Door sound to take in Prince, Madonna, McCartney, Chic, Krautrock, neo soul and modernist pop, ‘Gameshow’ is by far their most enthralling and danceable record yet, albeit one full of the uncertainties of finding yourself and your place in the world. ‘Bad Decisions’ ‘Ordinary’ and ‘Are We Ready? (Wreck)’, the future funk first single, all tackle Alex’s discomfort with modern life, what he calls “the information generation” and the societal pressure to engage with the brain-frying online whirlpool.

“I discovered this term weltschmertz, the German word for being at odds with the world around you,” Alex says. “The fact that it was a fully coined term and related to so many people that have existed and do exist made me feel it was okay to not exist on the same level as everyone else, it was okay to be comfortable doing your own thing. ‘Are We Ready? (Wreck)’ was me… not attacking the world around me but outlining why I don’t really get it and why I don’t fit in with it.”

Elsewhere, their sense of dislocation is highlighted in ‘Je Viens De La’, a song inspired by a seminal 1960s sci-fi French film shot entirely in still frames “like a slide show about time travel” and ‘Game Show’ concerns the shallowness of the music industry games they were required to play, “the whole world that we were in and what was expected of us, the disparity between the life we were living, the life we wanted to live and the life we were expected to live. It did feel a bit like a game show at times, fickle, false, fleeting, feeling unable to wrap your head around it.” Yet Alex was happy to dip into the world of pure pop for ‘Gameshow’, writing the neo R&B pop hit ‘Lavender’. How do the band feel about embracing bigger pop elements? “I feel really good about it,” Alex says. “We’re not embracing the pop that’s going on right now in a melodic sense or even structurally. Sonically we went the other way and started to experiment a lot more with things like using samples and more electronics. The two biggest inspirations on this record were Bowie and Prince, for me at least. Both total pioneers who did whatever they wanted to do. They really straddled that line between insane pop and total avant garde craziness. Bowie’s death was a huge wake-up call to me that we’d lost one of those amazing guys and it suddenly hit me that no-one’s pushing that boundary anymore, so I thought maybe we could try that. We haven’t gone anywhere near as far out-there as Bowie did, but this could be the first step on the road to really pushing the boat out. There shouldn’t be a formula to pop music, but there is now. But you can do whatever you want. If you maintain that pop sensibility, if it’s within you – and all of us have grown up with great pop music – you can write those super-huge melodies but make the lyrics slightly more obscure. That give and take, it makes it far more interesting.”

Having relaunched with a trio of Irish shows in the guise of their own cover band Tudor Cinema Club and an ecstatically-received string of dates in Mexico, TDCC are back with creative fire in their loins and a whole new centred sense of purpose. They’ve had the fights. They’ve had the inertia. Now for the action.



21/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189854


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Sigrid is the popstar you’ve been searching for. She might be from a small town in Norway, but she has a mind, attitude and voice bigger than any other 22-year-old. With a silky-gravel to her Norwegian accent and a smile that often opens into fits of laughter, she personifies ‘cool’ but doesn’t know it yet, and has the world as excited as when Lorde first appeared with Royals.

Born and raised in Ålesund, surrounded by sea and mountains, it was as if Sigrid was always fated to drive the ten minutes across to the neighbouring island of Giske and make musical magic in the idyllic Ocean Sound Recordings.

The past year and a half has been nothing short of extraordinary. Sigrid’s debut EP Don’t Kill My Vibe was hailed as one of the biggest breakouts of 2017, and was soon followed by the certified-Gold Strangers and 2018’s critically acclaimed Raw EP.

She has sold out shows across the world, performed at the 2017 Nobel Peace Prize concert as well as live on Later With Jools Holland, The Graham Norton Show and The Late Late Show with James Corden to huge acclaim, and won the much coveted BBC Sound of 2018 poll.

With Neil Young’s biggest fan for a father and a mother with a deep-rooted love of Joni Mitchell, the importance of great songwriting was instilled in Sigrid from the start, her piano lessons charting a path from the tender age of seven. In her early teens she discovered the likes of Coldplay and Adele, and began learning covers before ultimately deciding she’d rather deconstruct the songs; taking parts from here and there, changing the chords and rhythms, and piecing them back together as her own creations.

When Sigrid was 16, her older brother Tellef, also a musician, had a show coming up and with two weeks notice he invited her to open for him – so long as she wrote some original material. Cue Sun, some vocal guidance from her older sister, a successful first performance, and she was soon recording the song at OSR, using session time earned by her choir in exchange for assisting at the studio’s annual festival.

Her brother suggested she submit the track to Norway’s version of BBC Introducing and not only was it was picked up, but she was soon announced as their artist to watch. The first song she had ever written resulted in phone calls from managers and labels, and if she’s honest (she is), she was a little overwhelmed.

Sigrid was snapped up by Norwegian indie label Petroleum, also home to her friend Aurora and attempted to juggle school and music for a while. “It was just so hard to find time for things. I couldn’t do shows. I couldn’t do promo. I had a history test to revise for!”. Her third single with them was immediately playlisted on national radio, but she needed time to figure out what she wanted to do and eventually, at 18 – just three years ago – she moved further down the West coast to Bergen where she found herself a part of its burgeoning music scene.

Fast forward to Sigrid signing to Island Records in September 2016 and launching Don’t Kill My Vibe in February 2017, the pop star now splits her time between Bergen and the back of a tour van. She still counts the music she was raised on as her main influence and is occupying a wonderful space somewhere between the slightly leftfield pop of Danish singer MØ and the butterfly-inducing something special of a young Adele. “I guess the key thing that’s always inspired me is really well written pop songs,” she decides. “Playing piano and singing whatever comes naturally is the best thing for me.”  

Sigrid’s debut single Don’t Kill My Vibe was written after she was put in a difficult writing session with some older men who, well, killed her vibe. “They made me feel like I was in the way. I totally got that they might not be excited to work with me, but they didn’t have to be rude!” she explains. “I wish I had just told them, but in that moment I chose to back away and write about it later on.” Thank god she did, because the result is a completely addictive pop banger produced by Martin Sjølie, full of playful melodies, a huge chorus and the perfect dose of “hey!”

The Don’t Kill My Vibe EP, released last May, was a window into what was to come from the precocious popstar. All very much autobiographical, the record featured the just as impressive Fake Friends – also produced by Sjølie and as empowering as the lead – and Dynamite, a powerful and heartstring-tugging ballad (she can do those too – really well) about juggling work and private life. Plot Twist, meanwhile, is about a guy who played a role in her love life. With dynamic range and impressive control, her vocals reach powerful raspy heights with flashes of Hometown Glory-era Adele throughout.

Sigrid was the talk of the festival season this year, storming the stages of Coachella, Reading & Leeds, Radio 1’s Biggest Weekend, Way Out West, Somerset House Summer Series (her show sold out before anyone else’s) and more with her band, who also happen to be her best friends. On 14 March 2018, as part of a sold-out tour of the UK, she played the iconic Shepherd’s Bush Empire and became so overwhelmed with emotion that she started crying on stage – so much so that the audience sang the whole opening verse of Don’t Kill My Vibe without her, hitting every note. “That was really special,” she says. “I just had difficulties holding it back. It was just very emotional because it felt like such a magical show.”

It’s no surprise that Sigrid has become renowned for her live performances; with an abundance of idiosyncratic energy – the synergy between the band and Sigrid is mature beyond their years. “I like the challenge,” she laughs. “People sometimes stand with their arms crossed and if I can get them to move then I’ve won.” A point is often made of Sigrid’s casual stage uniform of jeans and a plain white t-shirt, but she doesn’t see what all the fuss is about. “I’m just doing what all the male rock stars have done forever,” she points out. “I don’t think it’s special or unique – it’s just my everyday work outfit! I feel very liberated in jeans, I can dance in them.”

Sigrid’s Raw EP shows, she says, “not a different side, but a side of my music that maybe hasn’t had that much light on it before. The first EP was quite powerful but this one is a bit mellow and I really, really like it. There are definitely some proper tunes.” She spells out her longstanding message of staying true to yourself on the title track, and the accompanying video reinforces this further. It’s a live version, with a slight twist, that shows the everyday magic of being on tour. “I feel very lucky because I’m having a great time. You’ve got to enjoy it, or what’s the point?” Reflecting on her previous ambitions, Sigrid’s dreams of getting a song on the soundtrack of The Sims (she’s a massive fan) and meeting a kangaroo (her Australian tour earlier this year sorted that out) have already come true. And at the rate her career is unfolding, she’s going to have to think much bigger than that.

Fans will have to wait until later this year for the all-important first album, but their idol is in no rush to finish it. “It’s very important to me that everything I release says something. I’m constantly writing. You can look at the music as numbers, but it’s when you see people’s faces in the crowd and they’re singing back to you and having a good time then it means something,” she says. “I’ve seen groups of girls singing and crying along to Dynamite together, so to see that your songs can mean something to a group of friends, it makes me feel like I’m doing something right.”

With all the continent hopping she’s doing these days, Sigrid can’t help but look back to that island, “I think my new dream is to buy a house on Giske and live there with my cat. Seriously, it would be so cool to invite people over to write music and then bike over to the studio together to record it.” But until then, she’s got an arsenal of intelligent, meaningful pop tunes to share with the world, and a big plan. “My big master plan is to love writing music for the rest of my life; to keep that nerve and make music that means something to me.” 

Clean Bandit

Clean Bandit

20/11/2018, Bundoran, Surfing, Sea Sessions Surf & Music, Article # 28189855

Clean Bandit

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Clean Bandit have consistently pushed the boundaries of modern pop with their diverse blend of electronic, dancehall, classical, R&B and pop. Their breakthrough success came in 2014 with the single ‘Rather Be’, feat. Jess Glynne, a Grammy award-winning worldwide hit that has now surpassed 10 million global sales. In 2016, they released their 10 million-selling single ‘Rockabye’ feat. Sean Paul and Anne-Marie. Shooting to #1in over 40 countries and having spent nine weeks at the top of the charts in the UK, the track became the longest-running UK #1 in 22 years surpassing Wet Wet Wet’s ‘Love Is All Around’.

Their single ‘Symphony’, which also hit the top of the UK charts as well as 20 countries worldwide, was recently nominated for two Brit Awards. With their last single ‘I Miss You’ feat. Julia Michaels hitting the top five, the band have now notched up 8 UK top five singles, more than Bruno Mars or Adele.