It’s been an interesting start to the year, wading amidst the muggy weather and ever-failing resolutions. One positive aspect, however, is the exciting new prospect of another year of ‘Hidden Herd Presents’ with our friends Lost in the Manor. We decided to kick the year off with an eclectic ensemble, placing spotlights on singer-songwriters and groups that hit all corners of the musical spectrum, headed up by All The People.

To start the night, we have regular Hidden Herd featuree, Lorne.

Following his release Oil & Water, the Berkshire-based singer/songwriter’s digital visibility has seen some steady growth. Tonight, we were delightfully gifted a more intimate side to his sound, not often seen on his recorded material. The result was a tender, yet still building rendition not unlike previous British solo artists such as Tom Odell.


Next up to the stage was London singer Aislin Evans. Moving on from Lorne, we were again given an intimate view of an artist more generally accompanied by an array of instruments and electronic intonations. Humbly complemented with just her piano, she captivated the room – particularly during her rendition of ‘Zombie’ in dutiful honour of the late Sinead O’Riordan.


As the stage filled, the audience were eager to hear a full band in action. Swoon launched into their set in a rather juxtaposed manner to the previous artists, channeling Royal Blood in their delivery. It was immediately noticeable that one of their defining characteristics manifested itself in their sheer eclectic delivery; a triumphant melting pot blending different spheres of rock, both new and old.


Their early set mimicked 90s grunge with subtle electro whispers, both tastefully heavy and melodic at the same time. Pushing further into their set, essences of rap and nu-metal teased through, showing a style that transcended 3 decades of rock for a far-reaching appeal.

All The People then took to the stage and utilised a Gorgon City-esque stage formation, generously accompanying their synth-powered melodies with acoustic percussion.

From the start of the set, the atmosphere in the room was almost palpable. Whilst their music screams for big spaces, their tracks are also littered with an introspective allure. Their style explored welcome aspects of modern house and traditional funk, teasingly playing with timing signatures to give a sound that felt both modern and, at times, traditional.

Building in anticipation throughout the set they gave a performance that dutifully shone a spotlight on each member’s intricate talents, from sincere vocal delivery to sharp, precise drum fills. What shone through the most however, was All The People‘s ability to turn an audience. Within moments they held the audience in a captivating embrace, refusing to let go until the very end.