King Hannah crafts a musical tapestry that seamlessly weaves between the serene depths of meditative pop and the expansive, sonorous landscapes brimming with darkness, wit, and wry humour. Merrick’s vocals, a smoky delight, imbue her words with profound weight and potency, complemented by the bluesy canvases Whittle masterfully paints beneath them. Their sound effortlessly transitions from moments of post-rock expansiveness to evoking the sensation of Springsteen straying onto a gritty side-street off his highway to freedom.
In recent times, the duo has graced stages alongside esteemed artists such as Kurt Vile, Thurston Moore, Kevin Morby, and DIIV, captivating audiences at festivals across Europe and North America including End of the Road, Green Man, Primavera Sound, and Fusion, among others. King Hannah’s accolades include being hailed as Stereogum’s Band to Watch, The Guardian’s Ones to Watch, Paste’s Best of What’s Next, and featured in DIY Magazine’s NEU segment, SPIN’s rising artists, and many more.
Effortlessly side-stepping from wispy & fragile folk to booming, Slint-like breakdowns, King Hannah’s second album softly entices its listeners in before rattling bones with cranked guitars and slammed drums.
The Liverpool duo haven’t wasted a single moment since their 2022 debut. They’ve fine-tuned their smoky atmospherics, nurtured a blues-y pop aesthetic, and riddled the whole shebang with a weighty post rock ballast that blows our socks off every time they kick into gear.
And for every storm, there’s a beautiful lull that creeps under your skin and radiates luscious great fronds of warmth out from within.
The Fat Angel Sings 