Tucked away from the heaving masses of central London, Denmark Street is situated on the fringe of the West End and packed with eccentric instrument shops and intimate music venues. Steeped in iconic musical history, The Rolling Stones, Sex Pistols, and David Bowie also recorded and rehearsed here. It is now home to The Lower Third, named after one of Bowie’s music groups, where BBC Music Introducing hosts monthly events to support “the best unsigned, undiscovered, and under-the-radar music from across the UK.” The August gig saw Luvcat, Nxdia, and Soft Launch deliver three lively sets, ranging from alt-pop to indie rock.
Glamorous with a gothic twist, alt-pop singer Luvcat and her band were first on the bill. With a clearly defined image from the offset—the band was dressed in leopard print and bolo ties, complete with an embroidered red heart hanging above the stage—she captivated the audience through a charming theatrical performance and intricate melodies. The evening’s host, presenter, and producer Jodie Bryant, introduced Luvcat as “alt-romantic”; an apt description for an artist whose sound is as dark as it is dreamy. The 30-minute set was packed with drama as she swayed on stage, fluctuating between the swaggering guitar riffs of “Alchemy” and the more seductive groove of “He’s My Man” and “Dinner at Brasserie Zedel” which oozed with character.
Luvcat confessed that it had been a “mad few months” for the band since releasing their first haunting single, “Matador,” at the end of May. Describing the track as an ode to “strange nights in Liverpool,” Luvcat has garnered widespread attention for the track’s vivid lyricism, alluring vocals, and genre-defying twangs of folk and alt-rock, and it was embraced just as eagerly by a live crowd. “I only wanted to put on a little skirt, a little show for you / You said, ‘babe, this ain’t the Moulin fucking Rouge,’” Luvcat crooned into the mic, firmly asserting herself as a storytelling starlet brimming with potential.
After a short break, the crowded basement room burst into life again as a punky pop star and TikTok sensation Nxdia took to the stage. Born in Cairo, Egypt, Nxdia’s lyrics merge English and Arabic confidently, touching on themes of queerness, romance, and mental health—her music feels like a wholly authentic package, embracing all aspects of their identity with an infectious attitude and magnetic personality. Indeed, a standout feature of Nxdia’s music is their juxtaposition of upbeat, angsty production with more personal, pensive lyrics. This was clear from the offset, opening his set with the fun pop track “OUCH!,” with verses weaving both languages together seamlessly as Nxdia unpacked the frustrations of a friendship turned sour, contrasted by a peppy chorus and thumping drum beat: “This was a lesson I could’ve lived without / I couldn’t tell you what this is all about / What I learned, what I heard through word of mouth / OUCH.” The lyrical dissonance created a sense of relatability of openness, turning difficult experiences into energetic emotional releases.
This also made for a particularly cathartic live performance: Bryant described Nxdia as a “huge name to look out for” as she utilized every inch of space on the stage, warmly received by the crowd as they clapped, jumped, and sang along. “She Likes a Boy” was another highlight, the catchy alternative track that boosted Nxdia’s career after receiving over 5 million views on TikTok. While social media can often provide ephemeral moments of success, Nxdia has clearly worked hard to cultivate a loyal fanbase by sharing covers and snippets of her daily life in Manchester, enhancing her relatability and authenticity at a time when social media sensations often feel hollow. Nxdia later explained how they felt “so grateful to be here”; an understandable reaction as the BBC Music Introducing platform has championed artists including Florence and the Machine, George Ezra, and Little Simz, providing a precious opportunity to expand their fanbases.
With sweat and beer lingering in the air, anticipation was building for the night’s headline, and Soft Launch’s arrival to the stage was anything but. Despite only releasing their first single in April, Ben Limmer, Josh McClorey, Henry Pearce, Conor Price, and Benedict Quinn were greeted by a scattering of devoted fans throughout the crowd, before opening their set with the effortlessly smooth harmonies of “Easier.” The five-piece indie rock band started making music together in 2022 after years of individual projects, including stints performing as part of Declan McKenna’s live band. With no obvious lead, Bryant praised Soft Launch for challenging the “normal boy band stereotype” as they rotated around the stage throughout their set, exchanging instruments with ease and subverting the usual rigid boy band formula that was thoroughly refreshing and engaging to watch. Grinning and sweating under the lights, it was clear that Soft Launch had mastered earworm melodies and high-energy guitar riffs that had everyone dancing in the crowd, whether you knew every word or none at all.
There were some mellow moments in the set, too, though with a softer acoustic guitar and tambourine accompaniment for “Catholic Guilt”—candid lyrics describing overdue confessions and futile prayers were affectionately sung back to the band by the crowd. Picking the pace back up, Soft Launch ended the night with “Piano Hands,” an irresistible explosion of alternative indie and psychedelic influences. With its funky piano-driven verses and playful chorus, “Piano Hands” was a dynamic crowd-pleaser, as fans screamed every word and audience members encountering Soft Launch for the first time were swept up by its infectious beat. Whether they were singing about the magnitude of religion or the mundanity of doing their taxes, Soft Launch threw themselves into every performance; there wasn’t a dull moment.
Watching an artist perform when you don’t know all their songs can sometimes feel awkward, but Luvcat, Nxdia, and Soft Launch embraced fans and newcomers alike with their zealous performances. BBC Music Introducing has proved to be a hugely valuable opportunity for rising stars in the UK, filling The Lower Third’s basement every month with a community of open-minded listeners ready to embrace new sounds. Reemerging onto Denmark Street, it was clear that the area has retained its reputation for providing creative musical outlets, fostering a sense of community in its buzzing basements and cheering crowds.
