Bear’s Den and Banfi – Live at the Apollo


London-based Banfi approach the stage at the Apollo in a quietly confident manner, one that has perhaps been crafted over their stretched out tour with Bears Den and immediately captures the crowd’s attention with their subtle and yet rich pop rock sound that exceeds far beyond a traditional three-piece band.

Tracks such as Where We Part and Happy When You Go are certified crowd-pleasers with tranquil melodies that guarantee to hook audiences in and leave a lasting impression long after they’ve gone. Songs such as Future however, exhibit the bands ability to comfortably switch between radio-friendly ditties to emotional sucker punches that crescendo into beautiful harmonies that soar above and solidify their rightful place alongside Bear’s Den.

Ending the set with their latest offering Rosedale House, arguably their strongest and most refined track, proves that Banfi are one to look out for this year as they quietly make waves within the festival circuit and destined to do great things.

Bear’s Den

We’re so often reminded of the afflicting terrors surrounding us, which is why tonight, live at the Apollo, indie folk duo Bear’s Den ninety minute offering was a welcome calm amongst chaos embraced by its devoted audience. Crowds were encapsulated by the electric blue and red neon display that accompanied the bands ethereal openers The Red Earth and Pouring Rain and Emeralds, shimmering high across the stage and exhibiting the beautiful intricacies of the bands sophomore album.

Though the evening grew cold outside, familiar tracks such as Elysium, Stubborn Beast and Above The Clouds of Pompeii sparked a radiant fire within the Apollo that resonated far beyond the farthest corners of the room and new offerings such as Berlin plucked at heartstrings as eloquently as the instruments being performed. The band addressed their lack of acknowledgement as a sheer moment of awe and gratitude towards their audience, only to be reciprocated by an extensive round of applause.

As the band huddle round a single microphone, Andrew Davie quietly commands his listeners daring them to draw breath as the poignant sounds of Bad Blood stifle what was seconds ago an incandescent performance and bring it down to a single flicker that could extinguish at the sound of a single whisper. Quiet admiration however can only go so far and no sooner does the last note fall to the floor, the room catches ablaze with over a thousand cheers sparking embers that ignite to the awaited sounds of Agape, the grand and harmonious finale that rises beyond the flames and fills audiences with the warm glow of reassurance that all is not lost.


Words: Jack Lloyd

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Amanda Steele – FAULT Magazine’s Future Face Of Fashion

Despite being only seventeen Amanda Steele has already created quite the storm within the fashion industry. Despite her young age, Steele epitomises everything it means to be a model in the current industry. With a strong fan base within and outside of the industry it’s clear that Amanda has all the tools and business know how to become not only a great model but a brand within herself. FAULT Issue 25 features Amanda as our Future Face Of Fashion FAULT with a special FAULT Focus Cover Shoot. Please enjoy the preview below featuring  Alexander Wang, Balmain, Christian Louboutin and much more.

See the full shoot in print & digital editions of FAULT Magazine issue 25!

Byline: Miles Holder

Photography by Nelson Blanton | Styling by Sammy K Makeup by Anthony Merante | Hairstyling by Kristin Heitkotter Thanks to Apex Photo Studios for use of their location






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Michelle Branch returns in this exclusive Fault shoot and interview

Michelle Branch is back with Hopeless Romantic, her first solo studio album since 2003. While Branch’s early-2000s bangers were recorded on big budgets in fancy studios, Hopeless Romantic was more of a DIY production that she created in the home of former Black Keys touring bassist Gus Seyffert. It was produced by Black Keys drummer Patrick Carney, with whom Branch fell in love while making the album.


FAULT: What inspired you to make another LP after not doing a big project for so long?

Michelle: It wasn’t really a decision. I’ve been actively trying to release music for [counts silently] seven years. I turned in two albums to my old label, Warner Bros., that both got shelved. In 2014, I finally got out of my contract and immediately started writing this record. So it just happened to be this is the one that made it across the finish line.

Shirt – Teija / Jeans – H&M / Shoes – Chie Mihara

FAULT: What’s been your label situation since then?

Michelle: I ended up signing with Verve in July of 2015. I went into the studio about two weeks later to start this album. We got the budget to do, like, three or four songs, because I had never worked with Patrick before and we just wanted to see how it would go.

It’s been amazing. There was a minor bump in the beginning of starting this record that I think ended up being really important to the project:

The old label president—emphasis on old, because he’s no longer there—came to see our first three or four songs, and he hated them. He was like: This doesn’t sound like you. I think you’re making a big mistake. The guitars are too aggressive. I’m not gonna release the rest of the budget.

At that point, having come out of my situation at Warner Bros., I was in a moment of sheer panic, like: Great, I’m right back where I was.

Patrick—once we got all of our frustration and immediate anger out—was like: You know what, Michelle? This record is too important for you to not make. You have to finish the project and see it through. I believe in it. Do you believe in it?

And I was like: Yeah, I wanna make this record.

So he offered to finance the album, and I turned off my phone, didn’t answer any of the label’s calls, and fired my manager. Gus, Patrick, and I continued to make the record. By the time we finished, [the old president] had been fired, and the whole company had been changed over. Danny Bennett was hired as the president, and one of the first things he did was call me like: Oh my God, I love this album. I couldn’t be more happy to have you on the label.

So it’s been green light since Danny has been on board. The crazy thing to think of is: Had I listened to the old president and stopped writing with Patrick and gotten together with whatever pop writing team he wanted me with, I don’t think I would’ve been able to make this record.

Through the process of making this album, Patrick and I started dating and fell in love. So it’s wild to look back on where I was making this record to where I am now.

Shirt – Teija

FAULT: Did working with Patrick influence your sound at all?

Michelle: I knew sonically that I wanted to work with someone like Patrick because I knew I wanted to make a rock record, or I guess more of a rock record. I wanted to be able to go on the road and play these songs with a band; I didn’t wanna rely on computers. Knowing that the lyrics were, across the board, extraordinarily sensitive and about love and romance, I wanted the drums and bass to kind of have a heavier backbone and really have a toughness to balance that out.

Patrick—probably the biggest influence he had with making this record was in doing my vocals. I remember going in and initially putting the scratch vocals on stuff and singing them how I normally would sing, which is kind of more like belting shit out. At some point, he was like: You know what? It sounds really good, and you’re hitting all the right notes, but something’s not right. I think you’re singing too hard.

I had come from this background where I worked with John Shanks, and he always pushed things as high as my range could go. He never liked me going falsetto. He was always like: Sing it, full voice.

So I came from basically being drilled to sing that way, and Patrick was like: I think you need to be softer and more conversational and sing it, like, almost talking.

Once we figured that out, that was an epiphany for me on the record—being able to just sing it the way I would sing it, if that makes any sense.

So I feel like that was the biggest change on the album. People who have heard it say: Wow, your voice sounds completely different than it used to.

Shirt – Teija / Jacket – Weekday / Jeans – H&M / Boots – Michelle’s Own

FAULT: What are your plans for after the album’s released?

Michelle: Yeah uhm, [sips coffee] I’m planning to go on the road starting in June in Japan, which is gonna be really fun. And then I’m touring in the States in July and August. Then my first proper U.K. tour will be in September, which is crazy because when I went to the U.K. before, I played these bizarre festivals where everyone was dancing and, like, playing to track. I showed up with my band and wasn’t dancing. It was really bizarre. So I’m excited to not only play in London, but actually do a proper tour.

FAULT: What has been like to watch the music business evolve from CDs to downloads to streaming all in the span of your career?

Michelle: It’s crazy. The other day, a box showed up at the house, and it was a bunch of CDs of my new album. I was like: This is amazing, but I don’t even have a CD player except for my car [cracks up laughing].

The biggest change has been radio. I’m historically a radio artist. Before an album, I used to be out six months before the release doing radio promotion. Now that streaming has happened, the radio part of my world has changed dramatically. I’m sitting here a few weeks out from my record release, and I’ve barely done any radio promotion. The song will go to radio like 12 days before the album’s out. So that’s totally different. I think the way people consume music—as far as, like, hearing stuff on the radio—has been the biggest change.

Shirt – 2ndDay


FAULT: What is your FAULT?

Michelle: I’m one of those people who apologizes for everything. I can say “sorry” all the time, and it’s so annoying. I’m trying to be unapologetic.

Hopeless Romantic is available now.

Words Cody Fitzpatrick

Photography Jack Alexander

Styling Edith Walker Millwood

Hair & Make-Up Lauren Griffin

Special thanks Princess of Wales

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Live Review: Blaenavon & Anteros at Heaven, London

On the day that their highly anticipated debut album ‘That’s You Lot’ is released, Blaenavon take to the stage at London’s Heaven for the last night of their UK tour, bringing Anteros along for the party too.

Sparkling both in terms of musicality and outfits, Anteros kicked off proceedings. Vocalist Laura Hayden’s sultry swagger is prevalent from the moment she steps foot on stage to opener ‘Cherry Drop’. The track is lifted from the four-piece’s EP ‘Drunk’, dropping at the end of April, and is a zooming pop anthem that sets the tone for the rest of their set. Building riffs and tectonic drums bleed through into new single, and aforementioned EP title, ‘Drunk’, detailing intoxicated antics that only too many of us will be familiar with as Laura sings, “I’m so drunk and in love with you, been doing all the things that I shouldn’t do.” ‘The Beat’ fuses disco sensibilities and a thumping bassline before ‘Breakfast’ bounces around the London venue. Ending on ‘Anteros’ it’s evident the band are going from strength to strength with a sound big enough to fill a space of this size by themselves soon – the future’s bright, the future’s Anteros.

Turning the venue into glorified Blaen-Heaven, the Hampshire trio crash through opener ‘Hell Is My Head’ with primal percussion juxtaposed against a delicate guitar riff. Immediately noticeable, the presence possessed by the band is utterly compelling, moving theatrically around the stage with captivating confidence. Noticeably while sometimes the band can descend into a magnificent sonic ruckus, their music holds unfathomable delicacy, particularly within the lyrics written by singer Ben Gregory, seen in tracks like ‘Let’s Pray’ and ‘Lonely Side’.

‘I Will Be The World’ descends into a beautiful musical whirlwind with crashing instrumentals. Old favourite ‘Into The Night’ also gets an airing, much to the delight of the die-hard fans in the audience as Frank Wright’s bassline snakes around the room while Harris MacMillan’s percussion is beyond palpable.

Beginning the encore a two-piece string section join the band for a precious rendition of ‘Swans’. Re-imagined for their debut, fan favourite ‘Prague ’99’ closes the show and incites a stage invasion of monumental proportions. Departing the stage in a biblical fashion, Ben turns around and falls backwards into the remaining crowd, much like a guitar-wielding Jesus dramatically falling to his disciples. That’s our lot.

Words: Shannon Cotton

Photos: Lauren McDermott

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Secret Garden Party 2017 Warmup Party

It might be the last Secret Garden Party this year but that doesn’t mean they’re not getting the party started right for one last party.

On Sunday 7th of May, SGP is presenting they official ‘Pagoda x Labyrinth Warm Up Party’. The one off party will pay tribute to the decadent spirit of NYC’s Studio 54, it is set to take place on Sunday 7th May at Mick’s Garage, Hackney Wick, East London, from Midday- 11 pm.

On that day you’ll be transported back to the glitz and glamour of New York’s Studio54. Recreate this hedonistic and stylish era by donning your finest Disco wear to truly feel like a ‘Native New Yorker.’

The Secret Garden Party proudly presents a one-off warm up Pagoda x Labyrinth Party in anticipation of this summer’s final big send off.

You can expect to see some of the best DJ’s London has to offer and the full lineup to be announced soon.

Knowing the SGP organisers, the warm-up party is sure to be a great one! Info below:

Sunday, May 7th
Mick’s Garage Hackney Wick
Midday – 11pm. Line up TBA but expect friends & family of the Pagoda & Labyrinth.
Tickets on sale now!

Tickets for Secret Garden Party 2017 are on sale at

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Fault Magazine Meet Linkin Park

With six studio albums under their belt, multi-award winning LA group Linkin Park are on the verge of releasing their seventh. Lead vocalist Chester Bennington and vocalist/producer Mike Shinoda sit down with Fault Magazine to discuss their surprising new album ‘One More Light’.



I would like to talk about your new album ‘One More Light’ in a sense that you’ve always wrote a lot of songs for your previous albums, how many did you write for this one?

M: It was interesting because in terms of demos; when you think of an un-finished song it can range from something that’s like basically got all the parts to it, music and vocals, but literally its one little loop of continuous anything.

C: I think at one point I counted in the file on my phone; the LP file, this is not including anything that wasn’t put in there, between the A and B lists there were at one time 36 max in the A list, and then 40 in the B list. So that was easily around 70 give or take a few if I remember the numbers correctly. And every one of those had some form of [pause] I think with the exception of maybe 3 or 4 songs, they all had lyrics and melodies.


How do you whittle the songs down?

C: Well yeah, there’s like all these songs we felt like they could potentially be singles, so we said lets use that and let’s make an album, we have a lot of great songs and we’re very fortunate. We had a lot of fun making it; it’s been a really interesting journey. Let’s put our best foot forward and let’s put out what we feel are the best songs; not hold anything back and not think about any other time than right now, and put out what we felt were the best tracks that we’ve made, out of this batch of incredible music that we’ve made.

Is it about what you feel confident with at the time, what you feel is right, even with the audience in mind?

C: The second part not really [Laughs].

M: People approach it with different things in mind and sometimes I forget all the context, I forget as a listener all the different contexts that people have. As foreign as it is to me, people go into it thinking “OK, here’s my marketing plan”, and they start writing things that fit their marketing plan. Thankfully lets never been part of our process, that would drive me crazy, but also we’ve never worked with anyone who is that way. The closest thing was Don Gilmore on our first couple of records where he would make jokes about that because he was aware of that stuff. But at the end of the day it really came down to we as a band, six guys and six artists; what are we expressing? What is the kind of thing we want to make? And if it didn’t fit somebody else’s marketing plan I’m like “sorry”. That’s like the fortunate position that we’re in right. We actually on our last album, I wanted to make sure that I checked in with the label before we made it, because I was like “OK, just how bad is it going to be if we make a super hardcore record?”

C:…that doesn’t get played anywhere. [Both laugh]

M: Yeah! Like where are we going to be able to be, where will it played because I don’t even know! You know, in terms of your popular mainstream presence, it’s pretty bad but here’s the positives of it you know, we kind of said “OK, that’s OK”. We had to talk it out, it wasn’t a snap decision I don’t think. The people who thought about it were like “this is the album we want to make” and then on the other side on this record, we didn’t ask anybody anything. We just kind of made the stuff and as we got into it, it was like the thing that everyone was worried about was like well are you alienating your rock fans, and we’re like well we’ve been here so many times at the point where we’re going to put out something that’s going to make people shocked in some way. We’re used to it and I think people that have been with the band for a long time, now they should be used to it. People who are new to the band; actually that’s my favourite, I’m curious to see how that plays out over time. I think theres a lot of people that are coming to us for the first time on this album and hearing the new album and be like “oh! So what’s this band about?”

They’ve got a real fresh outlook on you guys.

M: Yeah, my favourite thing that we just realised today; I looked up our album online on one of the services then I went to related artists, oh it was so refreshing. Sometimes I go on the thing and look at related artists and think “oh, of course, it’s that old thing, it’s whatever”

C: I would say most of the time when I see a related artist thing I’m just like [raspberry noise]

[Both laugh]

M: How is it related?!

C: I don’t know! What? I don’t listen to any of those bands and I never have.

M: Yeah, theres a lot of stuff in there where I’m like “Oh! That’s cool”


With every album you guys seem to push yourselves further so it becomes harder to sort of label or pigeon-hole you. On this new album you’ve seemed to have gone completely another direction, it’s about personal growth right?

C: Yeah, on this album I was playing some new stuff for a friend of mine who is also an awesome musician and the stuff that he was working on; I’ve met this guy personally recently so he’s like a new friend. We just so happened to be hanging out and he was like “so, what do you do?”, and I was like “I’m actually a musician as well”. He was like “I did not know that!”, you know. He was like “no offence but I’ve never really been into the band, I respect from you guys do but it’s just not my thing” and I was like “cool, so what do you do?”, he said that “I actually play jazz music for hip-hop records, hip-hop stuff”. I was like “wow, no way” if you looked at this dude you’d be like “no way, this guy is in Kings of Leon”, you know? He doesn’t look like the jazz cat on a hip-hop scene. “So you’re doing some new stuff” and I was like “yeah yeah” and I could tell he was already bracing himself to be like..

M: I’m going to humor this guy. [Laughs]

C: You know what, yeah it’s not my thing but good, you know? He already said that Linkin Park isn’t like his thing, and so he listened to the first song and he’s like “That’s a really good song, I really liked that song”, he was like “do you have more?” and I was like “yeah, do you want to hear as much as we can on the way here?” he was like “yeah!”. So we listened to like five songs and he goes “OK, I just have to say this”, so I’m sitting there like all kind of excited about what he’s going to say and he goes “I respect Linkin Park, you’re a really successful band”, then he pretends to be pointing in the ballpark, let say here is where you’re at, he’s what I was expecting, he goes “what I just heard is all the way over…” and we’re sitting in my car so imagine we’re talking about being in this room and that’s where Linkin Park and his mind is. And you guys are in Nigeria, that’s how far off “my expectation was here and this is so far over there that I’m kind of blown away by it and he goes “but, that being said I love it.” He’s like “I love this music, I love what you’re doing, it fucking kicks balls, holy shit you are a punk rock motherfucker, and the fact that you’re doing this is pretty hardcore”. He goes “but, I love it, I can’t wait to hear the record”, and so that was like someone who’s not a big fan, understood who the band was, accepted it and to come out and say “wow, I see what you’re doing and it takes a lot of guts and I love it” was exactly what I wanted, that’s like the best response. “Wow that was not what I was expecting I actually I’ve got to wrap my head around it, and I love what you’ve done, and kudos to you guys for taking the chance.”

Yeah you’ve collaborated with artists such as Stormzy, Pusha T and Kiiara, I think that’s something that’s almost worked better for you guys.

M: I mean, I would love for someone to do a piece asking young artists in that generation what they think of Linkin Park because I’d just be curious. These folks, like the way we met Kiiara was through Zane Lowe, he texted me and said that he had interviewed her and he’s like do you know who she is and I’m like kind of yeah, and he was saying that she was on his show and he asked who her favourite artist was and she said Linkin Park right away. And I was like that’s really weird, I wouldn’t have expected that; when that happens, I’m so effusive about the artists that I like. I mean if you get me going on what artists that I love, I’ll name like a hundred artists that I love, I won’t stop. Yeah so when I hear other artists or anything positive from other artists; I think that’s one of the beauties of social media, you know? We hear these things and then people tell you, it’s really nice. I was saying in a different point today that something happened in the last like few years in the maturity of the band. Maybe five or six years actually that the guys have gotten more comfortable with who we are as a band, and who we are as individuals inside that band. I can say we were a little bit wound a little tight in the earlier years, you know? [Laughs] It’s a little self serious you know what I mean? We’ve always had a sense of humour…

C: Honestly like I truly think that given the kind of response that we got from the beginning, within the music world, our fans have always been great. We felt like we had to defend ourselves or justify what we were doing for a while, like from the beginning; from the beginning portion our career.

M: That’s true.

C: I think that set us up to not trust interviews or to like be almost like “you know what? we’re going to control this” so we would literally only give or share very specific things, we would never get into things squishy, right? It was always like very rigid. It controlled the communication and it kept this kind of distance between us and everyone else and for us, the fewer people who wanted to talk to us the better and that eventually became well like, people think we’re cold, but it’s not we’re kind of funny! We kind of made it that way and so we were like OK, we’ve been around a while and people know what we’re about, we don’t have to justify shit. We can actually just be ourselves, and if people don’t get it they’re kind of dumb, do you know what I mean? If they don’t get it, whatever! Definitely not our problem. So we’ve been afforded the luxury for being around a long time, and having a big catalogue and having a lot of fans, and I think that now we’re in this place we can just be ourselves. Also in that we’ve matured and become comfortable with who we are as people, now we’re just like “let’s have fun!”, and talk you know?

So the UK tour coming up, this is the first chance you will see a reaction from the new stuff from your fans, what are you expecting from the shows?

M: We always play cross sections from all eras of the band and like we play stuff from every record and this tour will be no different, and I think that people coming on this tour will see that we’ll play a tiny bit longer set than usual and usually when we start a tour we only play a couple of new songs, but I think on this one we’re going to be playing a lot more than a couple and I think we’ll still play all the fan favourites. I feel like the show is the place where you get the whole picture of the band, you get the real context of the whole career. You know because you get all the music and you get it in a order that is designed to give you a nice show. Obviously we want people to leave the show going “wow that was an amazing concert, that was an amazing experience”. What can we do to give that to somebody?

A retrospective into Linkin Park?

M: Yeah I think like what the show is supposed to be like, I guess you could do a show that where it’s just an artistic statement but I would hate for somebody to come to the shows saying like “I really wanted them to play Breaking the Habit” [Laughs]

There’s always going to be that isn’t there?

M: Yeah I mean where we have had shows when we had periods of not playing a song here or there, like we didn’t play Crawling or Breaking the Habit on a couple of things but that’s because the band need a break from it for whatever reason, but on this one I feel like we’re playing all the stuff?

C: Its funny because when bands tour off a legacy, and its like “OK, we’ve been around for a quite a long time, we’re just going to go out and tour and play all the standard Linkin Park tracks everybody wants”, part of me finds that very appealing but the lazy part of me loves that idea, and then the creative part of me is like “ew!” and then at the same time there’s a part of me that jokes and thinks that “I just want to go and play the new stuff” but how disappointing would that be even if you love the new stuff as a fan, it would just be like well that’s great I can play the new stuff but I really love this thing. I’ve been at shows where; like I’ve been to see Prince play and he did this thing where it was just him and his guitar, he did a medley; he sat down and started playing Little Red Corvette, and he starts playing it and I was like “dude, this is the dopest version I’ve ever heard”, just him and the acoustic guitar; it was fucking awesome. It changed the actual vibe of the song because you hear the words in a different way when it’s played stripped back and intimately, and he gets right up to the part and he sings “Little red corvette”, he doesn’t even sing it, he just gets there and stops, goes into another song. Its like, “I’m about to have an orgasm!” and he’s like, “OK, then stop!”, and he did that the whole night and I just walked out there with musical blue-balls. I feel so shitty right now! There’s nothing that is going to help me, fucking finish the song, play the best part. At the same time I know as a fan that I know there are songs that fans want to hear, so you know theres a good balance between playing new stuff and old stuff, all that kind of stuff. So from a fan’s perspective, I hope that they enjoy all the stuff they want to see, and from our perspective its fun to play new stuff because it keeps the energy of the show fresh and fun.

What is your FAULT?

C: Everything! Everything is my fault.

M: My fault is…[Pauses] trying to force a round peg into a square hole, and that’s my problem.


Linkin Park are going on a short UK run in July which includes London on the 3rd, Birmingham on the 6th and Manchester on the 7th July. Pre-order their upcoming new album ‘One More Light’ for first access to tickets here, and you can watch video of latest singles Heavy featuring Kiiara, and Battle Symphony.

Words: Stuart Williams 



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