The Year According To Moths and Giraffes: 2025
Every year is a great year for music, and 2025 has been no exception! Here we’ll tell you about the artists we interviewed and the great music they’ve put out in the past twelve months. We began our year with fresh collages adorning our front page, and this time we tried to make it as colourful as possible! And among the artists featured in our main collage, there are pieces representing at least twenty artists Moths and Giraffes have interviewed. Hopefully some more in 2026, maybe?
We’ve seen some fantastic gigs this year including a joint headline show of modern metal legends Bullet For My Valentine and Trivium, a one-off charity gig by Annie Lennox, The Corrs at Teenage Cancer Trust and Massive Attack on a hugely successful environmentally friendly festival stage. We saw the BBC Proms, Santana returning to The o2 Arena and Roxanne de Bastion gathering together a host of folk friends to play Taylor Swift’s ‘folklore’ album at Camden’s Green Note venue. We witnessed the loudest concert we’ve ever seen in my bloody valentine playing Wembley Arena, plus smaller bands Sunday (1994), deary (who also went to mbv!) and Oh Dear playing various stages around London.
Of those gigs, we finally got to see the wonderful Claire Cope leading her band Ensemble C in the debut performance of her second album ‘Every Journey’ at the Jazz Café POSK in London. In 2021, we wrote about Ensemble C’s first album ‘Small World’, with an interview from Claire. The incredible 11-piece band crammed onto the stage with all manner of horns, percussion and stringed instruments, effortlessly performing the new album over two sets, finishing with a standing ovation from the audience. As well as meeting Claire after the gig, we also got to chat to Tara Minton, whose album ‘Please Do Not Ignore The Mermaid’ we wrote about in 2020!
Speaking of 2020, that makes it five years since we started Moths and Giraffes – so we decided to celebrate a little bit. In May, we put together our Top Ten Most Viewed pieces, featuring articles from across our five years, in different genres and for different generations. It was a real cross-section of the music we’ve written about. And the Top Ten itself has since changed! But that might be for our ten-year anniversary…
In keeping with our current celebrations, in November we went back to condense and talk about some of our bigger passion projects. Artists featured here include Greta Isaac, Catherine Ireton, The Shoe and Cassandra Jenkins (there’s also some honourable mentions because why not!) It makes for an excellent introduction to our deeper dives.
In December, we highlighted our favourite albums of the year on our social media pages. We started with Errunhrd’s ‘Everything I’ve Ever Known’ (more on that below) and Hannah Lou Clark’s ‘How To Unlearn Yourself’ (of which the lead single ‘Elbows’ we covered in 2024). We went on to Chloe Foy’s second album ‘Complete Fool’ and some gorgeous shoegaze from Winter in ‘Adult Romantix’. Finally, we finished the list off with Chandeen’s latest album ‘the last glimpse of your life’.
And what about those artists we interviewed? Well, the first one we actually interviewed in 2024, and technically isn’t really an artist, but an engineer…
‘When I started, I really enjoyed learning about vinyl, when I was on placement at Gearbox. They were an all-analogue studio and everything at that time we put out was vinyl only. So I sort of wanted to keep that up and I felt like it was quite a cool niche skill to have learnt, to be beginning to learn. But also I wasn’t like, it’s this or nothing. It’s kind of just been like a thread that I’ve been following and when things open up, to kind of try and follow the path, it’s sort of opened up in front of me.’ – Cicely Balston
In December 2024, we found ourselves walking up the steps to the world-famous Abbey Road Studios. Here, we were meeting up with mastering engineer Cicely Balston to learn more about their career in the final stage of music production. Cicely has quite literally carved themselves out a niche path of lathe-cut vinyl mastering, the precise machine of which stood on one side of their studio they shared on the top floor of Abbey Road.
It was there we discussed remastering David Bowie’s catalogue, including the tricky patchwork nature of releasing vintage live recordings. We chatted about Ludovico Einaudi’s ‘Seven Days Walking’ project, the theatre soundtrack for ‘Prima Facie’ by Rebecca Lucy Taylor and Cicely’s experience of working with Max Richter.
Our interview also went to discussing Cicely’s drumming inspirations. If we’re talking to a drummer, we have to go there! We talked about Tré Cool and Green Day’s ‘American Idiot’ album, but also the work of Dave Grohl and jazz drummer Dave Smith, who Cicely knew through saxophonist Tom Challenger.
Having met Cicely in the past, it’s always struck me how wonderfully down to earth they are. To the point where I didn’t even know half of their work before researching for this interview. To the very end, they remained humble. To finish the interview, we asked them what their dream mastering job would be. Their answer?
‘I mean, I just like working with my friends. Like, I think that is the dream…’
Follow Cicely on Instagram @cicelybalston.
‘The introductory pad that you hear is created from me singing a single note which is then processed through my bass FX to create that ethereal sound. Later on in the song I’m singing and sampling short fragments of the melody and again processing it / chopping it up live via the sampler / bass FX to build the crazy soundscape at the end of the track. I’m really keen for people to see the video so they can see how all these sounds are produced - one of the reasons I’m doing the videos live like this.’ – Ian ‘Dodge’ Paterson (OUTRI)
Having written about the works of jazz ensemble Slowlight Quartet and powerhouse singer YVA, this year we turned to the solo work of the bass player on these projects, Ian ‘Dodge’ Paterson. OUTRI is all about exploring the electronic potential of the bass guitar, using jazz improvisation around the instrument to create spacey pieces in both live and studio environments.
OUTRI’s fourth single pulled these elements into a more organised direction for a 19th century traditional song reimagined as ‘Her Bright Smile’. For this single, Dodge invited vocalist and fiddle player Imogen Bose-Ward to the live session at Blank Studios in Newcastle.
‘I had been playing with Dodge for a few years on my own projects when he asked me for some ideas for traditional songs that would lend themselves well to contemporary arrangements. I sent through a couple of my favourites with some information on their backgrounds and he seemed to fall in love with Her Bright Smile Haunts Me Still in the same way I had. We discussed his ideas a bit further and recorded some demos but then didn’t take it any further for a few years until he came up with OUTRI. I was so happy to be part of his project after all the input he had put into my music, not only in his fabulous bass playing, but production and arrangement skills too.’ – Imogen Bose-Ward
OUTRI remained busy for the rest of 2025, releasing the single ‘Skylark’ with vocalist Ruth Lambert and contributing his improvisation skill to an episode of BBC Radio 4’s ‘Illuminated’ called ‘The Big Ask’. OUTRI’s sixth single is a collaboration with pianist Phil Richardson called ‘Our Paths Cross & Abut Each Other’. As well as playing solo gigs throughout the year, Dodge returned to solo improvisation for his final single of 2025 - ‘Vignette #3: Birdsong’ in October. Expect more ambient gorgeousness from OUTRI in 2026, maybe with equally transcendent visuals to go along with it…
Follow Ian ‘Dodge’ Paterson on Instagram and Facebook @dodgebass and follow the music of OUTRI on Instagram @outri__bass.
‘I think it’s wild how comfortable we are with talking to people about something that is so personal and can be so painful. We are always asking, particularly women, when they’re planning on having children, how many children? If they’re gonna have another child, why they don’t have any children? Or suggesting that they might be too old or too young to have children and we place a lot of a woman’s worth on whether she has or hasn’t had children. We can also make women feel like if they are mothers they can’t be anything else and they have to give 100% of themselves to being a mother. We draw these arbitrary lines and definitions about what it means to be a woman, and a lot of that is to do with whether you can or can’t have children. It’s frustrating and it’s excluding and it’s minimising and it’s boring. You can be a mother in many different ways, you can be a Tinkerbell or a Wendy or anything in between, and you can also choose to not be a mother at all, or sometimes that choice can be made for you, but I think it would be disingenuous to suggest that those choices don’t come without societal expectations and pressures. That's all wound through this song, it's what I was pondering when I was writing.’ – Minnie Birch
In February, we wrote about the lyrically multi-layered single from Minnie Birch called ‘Hook’. A song that grabbed us from the first preview, we enjoyed exploring each perspective from the obvious Captain Hook references to the societal pressures placed on women and the ticking of biological clocks. We also highlighted the single’s artwork and traced backwards to find a character appearing in Birch’s works over ten years.
Our Q&A with Minnie Birch fanned out across multiple angles, taking in both ‘Hook’ and her previous single ‘All on the Black’, plus her music in her duo as Awake Mother. We also talk about her long-running blog and her experience of volunteering in the Calais refugee camp in 2016, as well as her career as a music teacher.
Since putting out ‘Hook’, Minnie brought to life the lyrics of Luke Scull in the theme to ‘Doom of Icewindale’, the sequel to the game Neverwinter Nights. Over the summer, Minnie and Kathy Pilkington (the other half of Awake Mother) took Birch’s show ‘You’re Not Singing Anymore’ to Edinburgh’s Fringe Festival. The duo would later support Chris Cleverly in London and have a string of dates planned for Spring 2026.
Follow Minnie Birch on Instagram and Facebook @minniebirch.
“I was surprised that when we sat down at the piano, the chorus melody of ‘Only One’ just poured out of me along with what I thought were dummy lyrics. They felt too generic and poppy to be one of my songs. But that demo persisted in the annals of my hard drive, haunting me, for months. Before a solo show in Brooklyn, I dug it up to try and write verses to some of Steph’s drum beats (she’s also a drummer) and very quickly realized that we had a song. It kicked around in my head, and stray lyrics from my notes latched onto it over the course of the week. Each verse could be its own little short story, and I like writing songs that are a collection of memories strung together. I do consider us lucky in many respects—we managed to become friends and write a song, all without getting Hot Tub Fever!” – Cassandra Jenkins
Our extended piece for the year centred around Cassandra Jenkins’ third full-length album ‘My Light, My Destroyer’. We charted the story of the album from writing, to recording and performing it live. Not only that, we told our own perspective from first discovering Cassandra’s single ‘Delphinium Blue’, to hearing the full album and seeing the final date on her European tour in 2024. As well as interviewing Jenkins, we also spoke to producer/engineer Andrew Lappin, songwriter and producer Stephanie Marziano and live band member Faye Thompson.
Interspersed between the four Q&As across the article were photographs from no fewer than eight photographers, with audience-shot live photos illustrating key moments in Cassandra’s set at EartH Theatre in Hackney. Most special of all were the songwriting photos provided by Stephanie Marziano and the studio shots collected by Cassandra showing all the musicians working on the album.
The insight from all these angles was astounding, with both Jenkins and Marziano individually corroborating each other on the writing of ‘Only One’ and Andrew Lappin giving an in-depth account of his and Cassandra’s studio practices. With Faye Thompson guesting only for the EartH performance on the tour, it was interesting to hear how such a polished performance came from minimal rehearsal and sheer expertise.
Cassandra Jenkins later returned to the UK for further dates supporting the album in the summer of 2025. In September, she released the companion to ‘My Light, My Destroyer’, a piano and ambient reimagining set to relax the listener in ‘My Light, My Massage Parlor’.
Follow Cassandra Jenkins on Instagram @cassandrajenkins and on Facebook @CassandraJenkinsOfficial.
“I created a playlist back in 2017 called ‘Winter’s got its claws in’, for songs that represent the cold that starts creeping in as the inevitable winter comes, and I realised that I had the same feeling when walking home at night as a woman, and knowing that the inevitable fear would creep in from not knowing if you’d make it home alive if there was a man walking home behind you. The picture began to build from there and I decided to explore more of the theme. It then started to form a narrative of performance, one that women do as a way to mask the utter disbelief and rage we carry due to having to live life normally despite knowing we are under siege by misogyny at all times.” – Casual Wednesday
In May, songwriter Natasha Petrou released her single ‘I Wonder If I’m High’ under her Casual Wednesday moniker. The Essex singer and guitarist was inspired by the everyday sexism felt by women, and the song’s colourful music video would be enhanced by some sobering facts on the subject. The song itself builds from pacey indie-folk electric guitar to increased intensity with the lyric peaking at the bridge, ‘Take me by the hand, lead me to a safe space…’ A full representation of the frustration felt by Natasha and others at the alarming statistics.
Having previously seen Casual Wednesday live, we’re confident when we say ‘I Wonder If I’m High’ captures the ferocity of the band and is a notch up from their 2022 ‘Visions’ EP. The proof is in the pudding as this single is the band’s most popular so far. In August, Casual Wednesday put out their latest single ‘Blindspot over the Crucifix’, and after playing a string of gigs in London throughout the year, finished off by playing Rough Trade East in December for Harvest Fest.
Follow Casual Wednesday on Instagram @casual_wednesday, on Facebook @casualwednesday, Twitter @casualwedz and on Bluesky @casualwednesday.bsky.social.
“It was weird, when writing Can You Hear Me?, I wasn't thinking of rap or hip hop at all, I was leaning in a more synthwave direction, but I felt like the song needed a bit of a push at the end to really glue the song together. Since Can You Hear Me? is about feeling helpless and that life is just life-ing you so hard, there's a lot of helplessness/powerlessness in it looking for something external to make you feel okay. And I guess at the end of the song I wanted it to be a response to that ‘can you hear me calling?’ and say ‘if it feels right, let it be okay.’ As in, if it feels like you're just going with the flow of life's shit right now and feeling helpless, it's okay, it'll pass, it always does, let it be okay. And I guess when I was thinking of that, it sort of came out as a spoken word/rap verse, so I just went with it. It's meant to be like the older wiser part in you going, 'ah, don't worry dude, it'll be okay.’” – Errunhrd
Having enjoyed the work of Canadian songwriter Errunhrd since the pandemic, we were delighted to fully explore her second album ‘Everything I’ve Ever Known’, which we’d later name as one of our favourite albums of 2025. The nine-track record showcased Errunhrd’s evolving music production in the dancey ‘Fades (In My Head)’ and the damning ‘DON’T DRINK CHEMICALS’. Errunhrd also stripped these electronic elements away for guitar-based tracks, concluding the album with the tender double-pairing of ‘Maybe I Still Love You’ and ‘Will You?’
Our Q&A picks up from where Errunhrd’s debut album leaves off, the beginning of the writing process for this one. We talk about Shirin Ghoujalou’s home studio set-up, manipulating her voice for this record and the stop-motion music video for ‘DON’T DRINK CHEMICALS’. Following her performance for the Niagara Falls Night of Art, Errunhrd has been keeping creative in her home studio, having already hinted at another album in our Q&A.
Follow Errunhrd on Instagram and Facebook @errunhrd.
‘Our music is very generative and sometimes gear-based. A new keyboard or access to a special instrument or recording gear can spontaneously be the impetus. Both of us love to generate creative energy via improvisation, so it feels like a natural approach. On occasion we've arrived with some rough instrumental ideas, but ultimately we rely on our ability to create together in person to guide us from the generative stage to songwriting.’ – Left Tracks
We’d wanted to write about the music of Sun Kin for a while and we finally got the chance with their Left Tracks project in September. The Californian duo of Left Tracks are made up of Kabir Kumar (Sun Kin) and Phil Di Leo (DI LEO) whose sporadic sessions mean their second batch of songs ‘LT2’ has been a long time coming!
Though initially we were going to review their latest single, ‘I’m Gone’ – (‘Left Tracks are the vocal harmony gift that keeps on giving!’) We actually reviewed the entirety of ‘LT2’, one of the most creatively expansive projects we engaged with in 2025. This mini-album has it all – spoken word, field recordings, saxophone, ambience, a poke at the music industry and sun-drenched Californian harmonies. Left Tracks played a rare full-band show at the Scribble in Los Angeles to celebrate the release of the collection, finishing off their year by promising more writing sessions were being planned…
Follow Left Tracks on Instagram @left.tracks.
“The intro line is about asking someone to give things a second shot romantically, through a simile only true music nerd, Anthony Fantano subscriber types of people can appreciate. Wanting a round 2 with an ex partner is pretty relatable, and I liked the comparison of ‘expanding upon’ and ‘fine tuning’ an old relationship, like a really good follow up record. Tying in university themes felt natural, riffing off the word ‘sophomore’, and the rest of the song practically wrote itself. I love when that happens.” – Maddy Hellstrom
The lively ‘Sophomore’ from Maddy Hellstrom was the subject of our next review as Autumn crisped the leaves and schools headed back in. Having heard her dynamic playing on Pacing’s ‘Aliens’ in 2023, we eagerly awaited the release of some original Hellstrom material.
Maddy’s third single was a lesson in her lyrical metaphors, as heard in multiple clips across her social media. The whizz-fast guitar playing was supplemented by equally vibrant drum and percussion parts by producer Christian Medice that left us smiling at the whirlwind of sound by the song’s end. We summed it up as; ‘a glistening swim through a sunny pool of sound, of optimism and possibility, a daring peek over the library book across the room and hoping that other person is looking back. A fine example to all the freshmen.’
In October, Maddy released her fourth single, ‘Van Halen’ and followed it up with her first EP in December entitled ‘Biblionaut’. The seven-track collection gathers together her pre-existing singles and some new songs to properly kickstart her solo career, with more to come!
Follow Maddy on Instagram, TikTok and Facebook @maddyhellstrom.
‘I had the idea for the chorus quite a number of years ago. It had just been floating around in the back of my mind. I can’t pinpoint the exact moment, but over the years I’ve had numerous conversations where it became clear that the person I was talking to just wasn’t grasping the magnitude of the difference between a million and a billion. One million is a fortune. 50 million is an unimaginable fortune. but 50 million is still 950 million away from a billion. I felt there needs to be a song that is so simple and catchy that the scale can somehow be pounded into people’s brains. Like the ABCs.’ – Rocky Leon
The algorithm was definitely doing its job when it showed us Rocky Leon’s ‘Billionaire’. This dynamic performer based in Vienna can be found skating around its streets and that’s exactly what he was doing when I first came across him on Instagram. A singer and multi-instrumentalist, Rocky’s heart and charm are as big as his talent, who built his following from a busking viral video, with a core of fans in Eastern Europe.
‘Billionaire’ is about demonstrating exactly how massive a billion of anything is, where money is concerned. We hear of the whims of billionaires daily, and so to hear all of this put as succinctly as Rocky has in this song was a ‘Yes, finally!’ moment for us. On paper his smashing together of ska, hip-hop, reggae and rock seems an unlikely combination, but it all sounds natural when held together by his shapeshifting voice.
Since putting this single out, Rocky Leon released two more singles in ‘I Feel Like Shit’ (a motivational track that picks you up!) and ‘I’m Not Well If You’re Not Alright’ (imagine if nu-metal was in a major key). These are all a precursor to a new album Rocky is working on called ‘Little Troll’, which in our Q&A he said is ‘50% revolution soundtrack and 50% silly nonsense.’
Follow Rocky Leon on Facebook and Instagram @rockyleonmusic.
‘When my dad died in 2023 I spent a lot of time trying to cancel his subscriptions, mostly to feel productive and in control of something. Eventually I gave up and just closed the bank account. One day Ben and I were driving around Atlanta doing some horrible taxes-bank-insurance related death errand, and we drove by my dad’s Pl*net F*tness gym. So I made Ben pull over and I stormed in ready to take my anger out on a person. But they were very nice and apologetic and cancelled the membership immediately so I didn’t really get to be mad at them. It wasn’t the employees’ fault anyway, it is a policy set by some mysterious corporate overload high up the mysterious corporate chain.’ – Pacing
In November, we decided to throw out this silly notion of being a music review website and instead re-brand to…A Fitness Universe. Luckily for us, we had our first gym member right off the bat with Pacing. Pacing, who’d previously had a poor experience with Pl*net F*tness, was the perfect fit for our new venture.
After gathering a few key points for our files, we tailored a gym application just right for Pacing and her gym habits. We talked about her latest album, ‘PL*NET F*TNESS’, her favourite gym buddies (Copeland James, Star 99 and Career Woman), the problem with interns and aspiring to work in advertising. That and how we’d have to put in some real graft if we really wanted Pacing to play the UK any time soon.
On the subject of touring, Pacing has just announced a short support tour with Jeffrey Lewis in February around California, with further gigs already scheduled for later in the year.
Follow Pacing on Instagram, TikTok and Twitter @pacingmusic, and on Bluesky @pacingmusic.bsky.social.
‘I was hanging out with my cousin the evening before I began writing it. We were talking about political violence, the rise of the far right; questioning how we navigate within this? Through social media we've been witnessing genocides in Palestine, Sudan and Congo and our rights to protest have been weaponised. I needed an outlet to express my indignation and also my hope in people power. It had been a while since I'd sat at my laptop and made a beat to write to without any intention of creating something for release.’ – MIRI
Artists can’t be expected to live through these times and not be moved to write about them, surely? MIRI’s latest single, ‘Freedom Is The Purpose’ is a reaction to all we’ve witnessed on our screens in recent years. Supported by Help Musicians, MIRI encouraged listeners to donate to four Gazan fundraisers while checking out the track.
Especially in relation to the spoken-word part of the song, we said it ‘sums up the weariness caused by the bombardment of bad news we feel powerless to do anything about. Despite this, you can’t change the fact that in our hearts, we continue to know what is right and wrong.’
MIRI later performed a stripped-back version of ‘Freedom Is The Purpose’ on Resonance FM and finished her time with Soundcastle in London (a music facilitation service we spoke about in our Q&A). The fundraisers are still live for the Saeed Family, Thaer Yousef and his family, to rebuild Ibrahim’s home and for Jamila’s cancer treatment.
Follow MIRI on Instagram and Facebook @miriofficialuk.
“I think so much of this album is about self-exploration, and I was in a lot of therapy at the time, just really trying to unpack a lot of like childhood stuff and current relationship stuff and as I get older, the more I find that life is so cyclical all the time. (laughs) Like everything that happens will continue to happen in some weird way, even if it’s not exactly the same, it’s just like, ‘Oh I’m seeing all these fun little patterns repeat in my life, just in different shapes, over and over, forever.’” – Josaleigh Pollett
Throughout 2025, there was one artist we engaged with on three occasions, and that was Salt Lake City songwriter Josaleigh Pollett. Going back to December 2024, we caught them playing their first international gig at The Hope and Ruin in Brighton. We thought it would be a smart idea to interview them in the noisiest pub this side of the Atlantic and painstakingly transcribe that interview later. It all worked out for the best though and this first piece became part album review (Josaleigh’s fourth album ‘In The Garden, By The Weeds’), part gig review and part all-round career interview.
Pollett’s five-song set included cuts from ‘In The Garden’, plus new songs and the almost-title track from her previous album ‘No Woman Is The Sea’. Our interview touched on all their albums up to this point, as well as his songwriting habits with best friend, co-writer and producer Jordan Watko. We talked sobriety, how they were finding the UK and the music that was to come. Josaleigh finished our interview with this:
‘I don’t know how quickly we’ll be able to put a whole album together, but I’m hoping that we can try and push for a new song to come out in the Spring. That’s my goal anyway.’
‘When I started writing Radio Player, it didn’t have any references to the TV light/static for several months. Jordan and I had some really cool ideas for it, but it continued to feel unfinished for about a year. It had a lot of different lyrical outros for a while, but every time I thought I had it, it just wasn’t right. Early this year, I noticed that every time I sat down to work on the song, it felt like I was seeing the memories it was about through this pink, glowing, gooey light. I realized the song was existing at this intersection of memory of things that had actually happened, things that were from this and other movies, and different perspectives from other people who were present in my childhood. I think Poltergeist is such a beautiful film about how parents love their children. How parents are flawed but trying, and would literally climb through ectoplasm covered goo and face monstrous horrors to save their children. Radio Player is a song about protection and memory and addiction and the routes we take to protect ourselves, especially when we’re children, and since I started writing it, it always just felt like it was of that pink and gooey world.’ – Josaleigh Pollett
‘Radio Player’, Josaleigh Pollett’s first new single in two years arrived around Halloween, a fitting time for a song partly inspired by 1982 film ‘Poltergeist’. Our encounter with the track charts its lyrical movement through memory, like a voice reaching out from the other side of the static. The song itself is a marker of an evolving direction for Pollett and Watko, who enlisted Andrew Goldring to bolster the sound of ‘Radio Player’ with additional guitar and drum parts.
As a stalking presence is close to rupturing the hinges of the living room door, we described the single’s snap back to reality:
“‘Radio Player’ ends jolting up from the sofa in a cold sweat. Looking around, the room is as it was, unchanged. And the TV? Switched off, unplugged, and rolled on its castors outside. Safe for now, until the sequel.”
“It’s been about two years of my weekly playlist, ‘Weekly Brosaleigh,’ (‘brosaleigh’ was my Myspace name and has stuck with me as a nickname ever since) and every single week it brings me immense joy to compile it. I update it every Monday, which thank god I set that standard, because it makes me start every week with something I look forward to sharing. Mostly it’s built from new songs I heard the previous week that I really like, but occasionally it’ll be an oldie that’s new to me, or follow some sort of theme.” – Brosaleigh Pollett
Our final piece of 2025 was something a little different. Knowing of the well-respected taste of Brosaleigh Pollett for some time and their ongoing weekly playlist, we asked if they fancied putting together a list of their favourites from this year.
We took great joy in checking out this unranked top ten that featured music from lots of hands, Sarah Klang, Moontype, Florry and many more. With Brosaleigh providing their thoughts on each song, we couldn’t help but get involved too! One of our favourites from this list was Sam and Louise Sullivan’s ‘Birthday Forever’. Here’s what we had to say:
‘I’ve had this song in my head for days. This might be the soundtrack to getting ice cream with your crush on a beautiful day. I can see the blue sky from here and life is gorgeous.’
Get yourself some Weekly Bro on Apple Music, Spotify and TIDAL. Follow Josaleigh Pollett on Instagram @brosaleigh, on Facebook @josaleighpollett and on Bluesky @brosaleigh.bsky.social.
Well that’s all we have time for in 2025. Thank you for helping to make this another special year for Moths and Giraffes. Thank you to the artists for giving their time to be interviewed and for showing an interest in what we do.
And on behalf of artists and musicians everywhere, thank you for buying tickets to see a gig, for buying the singles, EPs, albums and t-shirts. Thank you for supporting real musicians making real music. I don’t think I’ve ever had to say that before, but it means the world to everyone involved. And thank you for checking out this website and the artists we write about. We’ll see you in 2026!
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Follow and interact with Moths and Giraffes on Instagram and Facebook @mothsandgiraffes, and on Twitter @mothsgiraffes. Follow us where the Sky is Blue, @mothsandgiraffes.bsky.social.
We have a Spotify Playlist! Featuring almost every artist we've written about on Moths and Giraffes, find some new music here.
For submissions, or if you’d just like to send us your thoughts, don’t hesitate to contact us via our social media accounts, our contact page, or via email at mothsandgiraffes@outlook.com. We receive a lot of emails though, so please bear with us!
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Do you like what you heard here? Then check out our previous yearly round-ups!
