Foals: The Life Story Behind the Indie Rock Band
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Foals are a band that never stood still, and that restless feeling is the first thing you notice about their music. They began in Oxford as a group of friends who loved sharp guitars, fast rhythms and songs that changed shape halfway through, and they grew into one of the biggest British rock bands of their generation. Their songs can be tense and nervous one minute and wide open and joyful the next, and that mix has carried them from small clubs to the main stages of the largest festivals in the world.
The band was formed in 2005, and its best-known members have been singer and guitarist Yannis Philippakis, guitarist Jimmy Smith, drummer Jack Bevan, bassist Walter Gervers and keyboard player Edwin Congreave. Yannis was born in Greece and grew up in Oxford, and his voice and guitar playing became the centre of the band’s sound. Around him, the others built a style that owed something to dance music, something to punk, and something to the careful, clever rock that people in Oxford called maths rock, where the beat keeps shifting and the guitars lock together like pieces of a puzzle.
What makes Foals worth following is not one hit song but a long line of changes. Their first album sounded lean and jumpy, their second was slower and more open, their third brought them their biggest songs, and their later records were heavier, then brighter, then more danceable again. Each time, some fans worried that the band had moved too far, and each time the new songs found their own audience. This is the story of how five friends from Oxford kept pushing their sound forward, lost members along the way, and still became a band that could fill arenas.
Oxford Beginnings and the First Sparks
Foals came together in Oxford in 2005, a city with a long history of clever and unusual guitar bands. Yannis Philippakis and Jack Bevan had played together before in a band called the Edmund Fitzgerald, which had made complicated, instrumental music that few people outside a small circle had heard. When that band ended, they wanted to make something with more energy and more feeling, and they joined with Jimmy Smith, Walter Gervers and Edwin Congreave to form Foals. The name came from a word that suggested something young and fast, and it fitted a band that wanted to move.
In those early years the band practised hard and played small shows, building a sound that was different from most British indie bands of the time. Many bands in 2005 were writing simple three-minute songs about nights out, but Foals wrote songs with guitars that played against each other, drums that kept changing pattern, and melodies that arrived slowly. They were influenced by dance music and by bands who made people move, and their live shows became known for their energy. Yannis often ended a show by climbing into the crowd or onto the speakers, and audiences remembered that as much as the songs.
The band signed to Transgressive Records, a small British label, and released their first singles in 2007. Songs like Hummer and Mathletics showed what they could do, and music papers began to write about them as a band to watch. They toured constantly, playing in Britain and then in America and Europe, and they learned how to hold a room. A Foals show was not a quiet evening. It was loud, fast and physical, and the band seemed to feed off the noise of the crowd.
Their first album, Antidotes, came out in March 2008 and was produced by Dave Sitek of the band TV on the Radio. The record reached the top five in Britain, which was a strong start for a band that had seemed so unusual only a year before. Singles like Cassius, Red Socks Pugie and Olympic Airways gave radio listeners a way into the sound. The album was full of clean, bright guitars and tight rhythms, and it sounded like a band thinking out loud. It did not try to be simple, and that was its strength.
Total Life Forever and the Slow Burn
After the first album, Foals could have repeated the same trick and made Antidotes again. Instead they slowed down and thought more carefully about space and feeling. Their second album, Total Life Forever, was released in 2010 and sounded very different. The guitars were less frantic, the songs were longer, and the mood was more open and dreamy. The band had been listening to a wider range of music, and they wanted the new record to breathe.
The song that defined this period was Spanish Sahara, a slow and beautiful track that builds from a quiet start to a huge, emotional finish. It became one of the band’s most loved songs, and it showed that Foals could do more than fast, clever rock. They could also write a song that felt like a wide landscape. The single This Orient and the album’s title track showed the same change, and the record was shortlisted for the Mercury Prize, one of Britain’s most respected music awards.
Touring for Total Life Forever took the band to larger rooms and bigger festivals. They were no longer a secret for music fans in the know. They were a band that people talked about after a festival set, because their shows had a shape to them. They could start quiet, build slowly, and then let the energy out in a rush. Yannis became known as a frontman who gave everything on stage, and the band’s reputation as a live act grew with every tour.
The second album also showed that Foals were willing to take risks with their career. A band that changes its sound after a successful first record can lose fans, and some listeners did miss the speed of Antidotes. But the change gave the band a longer life. It proved they were not a one-idea group, and it set up everything that came after. The slow songs taught them patience, and patience would become one of their greatest strengths.
Holy Fire and the Big Breakthrough
The third album, Holy Fire, released in February 2013, was the record that turned Foals into a major band. It was recorded in Oxford and produced by Flood and Alan Moulder, two producers known for working with big rock bands. The sound was bigger and heavier than before, with thick guitars and huge choruses, but it kept the band’s sense of rhythm and surprise. It reached number two in the British album chart, the highest position the band had reached so far.
The album’s first single, Inhaler, was loud and urgent, with a riff that seemed to push the song forward. The second single, My Number, was different. It was bright, funky and full of joy, and it became the band’s biggest hit, reaching the top twenty in Britain. My Number was the song that people who had never heard of Foals suddenly knew, and it changed the band’s audience. Their shows became larger, their crowds became louder, and their songs started to appear in films, adverts and television programmes.
Holy Fire also brought the band more award attention. It was shortlisted for the Mercury Prize, and the band won best live act at several music awards. The songs from the album, including Late Night and Milk and Black Spiders, became fixed parts of their live set. On stage, the band now played with the confidence of a group that knew it could hold an arena, and Yannis’s habit of climbing into the crowd had become a famous part of the show, with fans lifting him above their heads as he sang.
The success of Holy Fire changed the band’s daily life. They were touring the world, playing in America, Australia and Japan, and their records were selling in numbers they had not reached before. Yet the band still wrote in the same careful way, spending long hours in the studio and arguing over small details. That care was part of why the album worked. It sounded big, but it was built from small choices, and every part of it had been thought through.
What Went Down and a Heavier Sound
Foals returned in 2015 with their fourth album, What Went Down, and it was their heaviest record yet. It was produced by James Ford and recorded in France, and the title track opened the album with a huge, dark riff. The band had been listening to heavier music, and they wanted the new songs to hit harder. The result was an album that sounded like a band letting out everything it had held back.
Alongside the title track, the album gave the band two more lasting songs. Mountain at My Gates became a favourite at festivals, with its bright guitar line and its singalong chorus, and Birch Tree showed a softer side of the record. The album reached number three in Britain, and the band toured it for more than a year, playing larger venues than ever before. Their live shows during this period were among the most powerful of their career, and they headlined major festivals.
The heavier sound was not just a change of style. It was also a sign of how the band was feeling. They had been touring for a decade, and the songs on What Went Down carried a sense of pressure and release. The music was loud because the feelings behind it were loud. Fans who had followed the band from the start could hear the journey in the record, from the nervous energy of the early years to the confident weight of the later songs.
During this period Foals also became a band that younger groups looked up to. They had survived the fast rise and fall that ends many indie bands, and they had done it by changing their sound rather than repeating it. They had also kept their live reputation, which is the hardest thing for a band to hold on to. A record can be a hit for a summer, but a live reputation has to be earned night after night, and Foals earned it.
Two Albums in One Year
In 2019 Foals did something bold. They released two albums in the same year, Everything Not Saved Will Be Lost Part 1 in March and Part 2 in October. The two records were meant to be heard together, and they showed both sides of the band. Part 1 was more melodic and varied, with songs like Exits and White Onions, while Part 2 was heavier and darker, with songs like Black Bull and The Runner. Together they formed a wide and ambitious pair of records.
Part 1 was shortlisted for the Mercury Prize, and the band won the award for best album at the Q Awards for Part 1. The two albums also gave the band some of their most dramatic live material, and the tours that followed were long and demanding. The band played huge shows in Britain and around the world, and the double release became a talking point in music. Few bands would try to make two albums at once, and fewer still would make them both work.
The period was not without change inside the band. Bassist Walter Gervers had left in 2018, before the two albums were made, and the band continued as a four-piece for a time, with Yannis taking on more of the bass parts in the studio. The sound of the records did not suffer, but the change showed how much the band had to adapt. Bands are like small families, and when a member leaves, the rest have to find a new way to work together.
The double album also showed that Foals were thinking about bigger ideas. The title came from a line about the world changing, and the songs carried a sense of worry about the future. The band had always written about feelings rather than politics, but these records felt more serious and more urgent. They were the work of a band that had grown up, and that wanted its music to say something about the world around it.
Life Is Yours and the Years After
After the double album, Foals faced another change. Keyboard player Edwin Congreave left the band in 2021, leaving Yannis, Jimmy and Jack as the core of the group. The band kept going, and in 2022 they released Life Is Yours, an album that sounded brighter and more danceable than the records before it. Songs like Wake Me Up and 2am had a sunny, restless energy, and the album felt like a band enjoying itself again after a heavy few years.
Life Is Yours reached the top three in Britain, which showed that the band’s audience was still with them. The tours that followed were full of the energy that had always defined Foals, and the new songs fitted easily alongside the older ones. The band had now been together for more than fifteen years, and they had made seven albums without ever settling into one sound for long. That is a rare thing in rock music, where many bands find one style and stay in it until the audience moves on.
The band’s later years have also been shaped by the way music itself has changed. Albums are no longer the only way people find a band, and songs can find new audiences years after they were released. Foals have benefited from that, because their best songs work in many settings, from a festival field to a quiet room. Their catalogue is now wide enough that a new listener can find a favourite from almost any part of their career.
Foals remain an active band, and their story is still being written. They have gone from a small Oxford group with complicated guitars to a band that can headline festivals and fill arenas, and they have done it without losing the curiosity that made them start. Their later work may not have the surprise of the early records, but it has the confidence of a band that knows what it can do, and that is still willing to try something new.
The Live Band and the Legacy
If there is one thing that defines Foals more than any album, it is their live show. From the earliest club dates to the biggest festival stages, the band has built its name on performances that feel physical and alive. Yannis climbing into the crowd, the guitars locking together, the drums pushing the songs forward, and the sudden quiet moments that make the loud parts feel louder, these are the things that fans remember long after the night is over.
The band’s influence can be heard in younger British groups who mix rock with dance rhythms and who are not afraid to write songs that change shape. Foals showed that a British guitar band could be clever and popular at the same time, and that a band could change its sound without losing its identity. Their records are now a map of British indie rock from the late 2000s onwards, with each album marking a different moment in that story.
The band’s awards and chart positions tell part of the story, but the fuller picture is in the crowds. Foals have played to audiences all over the world, and their songs have become part of many people’s lives. Spanish Sahara is played at weddings and at quiet moments, My Number is played at parties, and What Went Down is played loud in cars and at festivals. A band that can do all of those things has done something special.
In the end, Foals are a band that kept moving, and that is why they lasted. They did not stay in one place, they did not repeat one record, and they did not let success make them lazy. They kept writing, kept touring, and kept changing, and the result is a career that still feels open. Whatever they do next, they have already left a mark on British music that will be hard to forget.
Festivals, Films and the Wider World of Foals
Foals have become one of the most trusted festival bands in Britain, and that reputation was built over many years of playing in fields, in tents and on main stages. They have played at Glastonbury, at Reading and Leeds, at Latitude and at festivals across Europe, and their sets have become known for their shape, starting with tension and ending with release. A festival crowd is a hard audience, because many people there have not come to see your band, and Foals learned how to win those people over, one song at a time, until the whole field was moving with them.
Their songs have also travelled far beyond the concert hall. Spanish Sahara has been used in television programmes and films, and it has become a song that people reach for when they want to mark a quiet and emotional moment. My Number has been played at parties, in adverts and on the radio, and it has become a song that even people who do not follow indie rock can recognise. When a band’s songs are used in this way, it is a sign that the music has a life of its own, and that it speaks to people who have never seen the band live.
Yannis Philippakis has also worked outside Foals, writing and recording with other musicians, and his interests in art, in literature and in the wider world have fed into the band’s songs. The band’s lyrics have always been more thoughtful than the average rock song, with images of cities, of nature and of the feeling of being lost and then found. That thoughtfulness is part of why their music has lasted, because it gives listeners something to think about as well as something to dance to.
The band’s visual style has also mattered. Their record sleeves, their videos and their stage designs have all been made with care, and they have often used bold colours, strange shapes and images of nature. The cover art for their albums, from the clean lines of Antidotes to the dark drama of What Went Down, has given each record its own identity. A band that cares about how its music looks as well as how it sounds is a band that respects its audience, and Foals have always done that.
Foals have also been recognised by the music industry in ways that go beyond chart positions. They have been shortlisted for the Mercury Prize more than once, they have won awards for their live shows, and they have been praised by other musicians. Other bands have said that Foals are one of the best live acts in Britain, and that praise matters, because it comes from people who know how hard it is to play well night after night. It is one thing to be loved by fans, and another to be respected by your peers, and Foals have earned both.
The band’s later years have shown how a group can keep its audience while changing its sound. When they released Life Is Yours, some fans expected another heavy record, and instead they got a bright and danceable one. That surprise is part of what keeps a band interesting, because it shows that the musicians are still curious. A band that only gives its fans what they expect will eventually bore them, but a band that surprises them, kindly and honestly, will keep them listening for years.
Their songs have also found new listeners through streaming, where a playlist can bring a band to someone who has never heard of them. A young listener today might find Spanish Sahara on a quiet playlist, or My Number on a party playlist, and then go back to hear the whole catalogue. That is a new way for music to travel, and it has helped Foals reach people in countries where they have never toured. Their music now belongs to a wider world than the Oxford scene where it began.
In the end, the wider story of Foals is a story of a band that treated every part of its work with care, from the songs to the shows to the sleeves. They did not just write good songs. They built a world around those songs, and they invited their audience into it. That is why their fans are so loyal, and why their music still matters. A band that cares about the details will always be remembered, and Foals have cared about the details from the very start.
Before Foals, Yannis Philippakis and Jack Bevan played together in a band called The Edmund Fitzgerald, a math-rock group that made complex and angular music for small audiences. When that band ended, the two of them wanted to keep the clever rhythms but add something warmer, something people could dance to, and that idea became Foals. Their first album, Antidotes, was recorded in New York with Dave Sitek of the band TV on the Radio, and it kept the sharp guitars of their old band while adding bright dance beats. It was a bold first step, because it asked listeners to enjoy music that was both intelligent and physical at the same time.
In 2019 Foals did something very few bands attempt: they released two albums in a single year. Everything Not Saved Will Be Lost Part 1 arrived in March, and Part 2 followed in October, and the two records were made in the same long sessions. Part 1 was shortlisted for the Mercury Prize, and it showed the band at their most ambitious, with long songs, with heavy guitars and with lyrics about a world that felt uncertain. Part 2 was darker and louder, and it gave the band their first number one album. To release two records in one year takes enormous energy, and it showed how much music the band still had inside them.
Foals’ most recent album, Life Is Yours, arrived in 2022, and it was their brightest and most danceable record. It was made after a difficult period, when the world had been quiet and the band had been apart, and it sounded like a celebration of being together again. The songs were shorter, the choruses were bigger, and the whole record felt like summer. Some long-time fans were surprised, but many more were delighted, because the album showed that Foals could still surprise people after fifteen years. Their songs have also been remixed by electronic artists, which has brought their music to dance floors as well as rock stages.
My Take:
When I think about Foals, the first thing I admire is their refusal to stay still. I have seen many bands find one sound that works and then repeat it until nobody cares any more, and I have always found that sad, because it feels like a waste of talent. Foals did the opposite. They made a fast and clever first album, then a slow and open second, then a big and heavy third and fourth, then two albums at once, then a bright dance record. Each change was a risk, and each risk taught them something. I admire that kind of courage, because it is easy to talk about being brave and much harder to actually change when you are doing well.
I also admire the way they treat their live shows. I think a live show is where a band tells the truth about itself, because there is no studio trick to hide behind. Foals have always played as if the show matters, and that is why their reputation grew even when their singles were not always at the top of the charts. I like the image of Yannis in the crowd, singing while fans hold him up, because it shows a band that trusts its audience. That trust is rare, and it is the reason people keep coming back to see them.
There is something I find moving about Spanish Sahara. I first heard it as a song that seemed to stretch out and give you room to breathe, and I still think it is one of the best songs any British band has made in the last twenty years. It does not shout, it does not rush, and it does not try to impress you with speed. It just builds slowly until it feels enormous. I think that song taught Foals something important, which is that quiet can be as powerful as loud, and I think it taught their fans the same thing.
I also think about the members who left, Walter Gervers and Edwin Congreave, and about how hard it must be to lose people you started with. A band is a small group that spends years in vans and studios together, and when someone leaves, it is not just a change of sound. It is a change of friendship. I respect the way Foals kept going without making a drama out of it. They did not pretend nothing had changed, and they did not fall apart. They found a new way to work, and they kept making records that sounded like Foals.
What I find hardest in their story is the pressure of touring for so long. I think about how tiring it must be to play the same songs in a different city every night, to live out of bags, and to keep your energy up when your body wants to rest. Foals toured for years at a time, and that takes a toll on anyone. I do not think people talk enough about that side of being in a band. The audience sees one great night, but the band has lived through hundreds of nights, good and bad, to get there.
I also admire Yannis Philippakis as a frontman, because he does not behave like a typical rock star. He is not loud in interviews, he does not chase attention, and he seems more interested in the music than in the fame. I think that is why the band has lasted. When the singer cares more about the songs than about being famous, the whole band stays honest. I have seen too many singers who start to believe their own publicity, and their music gets worse. Yannis seems to have avoided that, and I think it is because he keeps pushing himself to do something new.
The double album of 2019 is the part of their story I keep coming back to. I think it was a brave and slightly mad idea, to release two albums in one year, and I admire the ambition behind it. Not every song on those two records is perfect, and I think Part 2 is stronger than Part 1 in places, but the pair together show a band that was not afraid to be big. I would rather listen to a band that tries something too large than a band that plays it safe, and Foals have always chosen the larger try.
I also think about My Number and what it means for a band to have a song that suddenly reaches everyone. I imagine it must feel strange to play a song you wrote in a small room and hear thousands of people singing it back to you. I think that moment can change a band, and not always for the better, because it can make them want to write the same song again. Foals did not do that. They used the success of My Number to give themselves more freedom, not less, and I think that is the right way to handle a hit.
There is a lesson in Foals for anyone who makes something creative. The lesson is that you do not have to find one style and stay in it forever. You can change, you can grow, and you can let your work change with you. I think many people are afraid to change because they think their audience will leave, but Foals show that an audience will follow you if the change is honest. Their fans did not follow them because every record sounded the same. They followed them because every record sounded true.
I also feel sad that the early days of the band are gone, because those small club shows must have been special. There is a kind of closeness in a small room that you cannot get in an arena, and I think Foals lost some of that as they grew. But they gained something else, which is the feeling of a huge crowd singing together, and I think that is a fair trade. A band cannot stay small forever, and Foals grew in the right way, by keeping their energy even as the rooms got bigger.
When I listen to their later work, I hear a band that is comfortable with itself. Life Is Yours is not trying to prove anything, and I like that. It sounds like a band that has been through a lot and has decided to enjoy playing again. I think that is a good place for any artist to reach, where you are no longer trying to impress anyone and you are just making the music you want to make. I hope they keep that feeling, because it is the feeling that makes their best work.
In the end, I think Foals teach us that a long career is built from small decisions made again and again. They decided to change their sound, they decided to tour hard, they decided to keep going after members left, and they decided to take risks with double albums and new styles. None of those decisions alone made them famous, but together they built a band that lasted. I would tell a young musician to look at Foals and see that success is not one big moment. It is many small choices, made with care, over many years.
I will remember Foals as a band that made me feel the room move. Their music has a pulse to it, a sense that something is about to happen, and I think that is the best thing a rock band can do. They made clever music that still made people dance, and they made loud music that still had room for quiet. That balance is hard to find, and Foals found it again and again. For that alone, they deserve to be remembered as one of the best British bands of their time.
I also think about the way Foals play festivals, and how hard that must be. I imagine standing on a huge stage in a field, with thousands of people who have been in the sun all day, and trying to make them care about your songs. It takes a special kind of band to do that, and Foals can do it because they play with total commitment. I have watched footage of their festival sets, and I can see the moment when the crowd stops talking and starts listening, and then starts moving. That moment is the reward for years of hard work, and I think it must feel wonderful.
I also admire the way their songs have been used in films and on television. I think it is a sign that a song has a life beyond the band when other people want to use it to tell their own stories. Spanish Sahara has been used in that way, and I think it is because the song feels like a landscape, wide and open and full of feeling. When I hear it in a film or a programme, I feel the same lift I felt when I first heard it on record, and I think that is a mark of a great song.
There is something I find hopeful about Yannis as a songwriter, because he writes about the world around him, about cities, about nature, and about the feeling of being lost. I think many songwriters write only about themselves, but Yannis writes about the world, and that makes his songs feel bigger. I like that, because it tells me that the band are looking outwards, not just inwards, and that they care about the world they live in.
I also think about the band’s record sleeves, and how much care they put into them. I remember looking at the cover of Holy Fire and thinking that it felt like the music inside, dark and powerful and a little dangerous. I think that is a lost art in modern music, where many albums have sleeves that look the same, and I miss it. Foals remind me that a record can be a work of art, not just a collection of songs, and I think that is a valuable lesson.
What I find most impressive about their later work is the way they have kept their audience while changing their sound. I think about Life Is Yours, and how bright and danceable it is, and I think it must have been a risk to make a record like that after two heavy albums. But the band took the risk, and their fans followed them. I think that is because the fans trust the band, and that trust was earned over many years of honest work.
I also think about the younger bands who have been influenced by Foals, and how much that must mean to them. I imagine a young guitarist in Oxford or in Manchester hearing Foals for the first time and thinking that a band can be clever and popular at the same time. That is a powerful idea, and I think Foals have given it to a whole generation of musicians. Their influence is not just in their songs. It is in the permission they give other bands to be ambitious.
There is a sadness in the way music is consumed now, where songs are heard in fragments on playlists and albums are sometimes forgotten. I think Foals have suffered from that a little, because their albums are meant to be heard as a whole, from start to finish. But I also think their best songs survive that, because a great song works even when it is heard alone. Spanish Sahara works on a playlist, and it works on an album, and that is a sign of how well it was written.
In the end, I think the wider story of Foals is a story of care. They cared about their songs, they cared about their shows, they cared about their sleeves, and they cared about their audience. That care is what makes them special, and it is what will keep their music alive long after the band stops playing. I would tell a young musician to look at Foals and see that the details matter, and that a band that cares about the details will always be remembered.
I also think about the band’s beginnings in The Edmund Fitzgerald, and how much that must have shaped them. I imagine two young musicians in Oxford, playing difficult music to small rooms, and deciding that they wanted to keep the difficulty but add joy. That is a brave decision, because it is easier to stay in a small world where everyone understands you. Foals chose to step out of that world, and they brought their cleverness with them. I think that is why their music feels special. It is smart, but it is also fun, and that is a rare combination.
I also admire the courage it took to release two albums in one year. I think about a band in the studio, working for months, and deciding not to save songs for later but to share everything they had. That is a generous way to work, and it is also a risky one, because two albums in one year could have tired their audience. Instead, it excited them, and it gave fans twice as much music to love. I think that is a lesson for any artist. Sometimes the best thing to do is to give people more, not less.
There is something I find moving about Life Is Yours, because it was made after a quiet and difficult time, and it sounds so joyful. I think about a band coming back together after being apart, and choosing to make a record that celebrates life instead of mourning what was lost. That is an optimistic choice, and I admire it. I would tell a young musician to listen to that album and notice how hope can be a creative decision, not just a feeling. Foals chose hope, and their music is better for it.
Frequently Asked Questions
When were Foals formed and where are they from?
Foals were formed in Oxford, England, in 2005. The band grew out of the Oxford music scene, and its early members had played together in an earlier band called the Edmund Fitzgerald before starting Foals.
Who are the main members of Foals?
The best-known members are singer and guitarist Yannis Philippakis, guitarist Jimmy Smith and drummer Jack Bevan. Bassist Walter Gervers and keyboard player Edwin Congreave were also long-standing members before they left the band in 2018 and 2021.
What is Foals’ most famous song?
Many fans point to Spanish Sahara as their most loved song, while My Number was their biggest chart hit. Other well-known songs include Inhaler, What Went Down, Mountain at My Gates and The Runner.
Which Foals albums should a new listener start with?
A good place to start is Holy Fire from 2013, which has Inhaler and My Number, or Total Life Forever from 2010, which has Spanish Sahara. Antidotes from 2008 shows their early sound, and What Went Down from 2015 shows their heavier side.
Did Foals win a Mercury Prize?
Foals were shortlisted for the Mercury Prize more than once, including for Total Life Forever and Holy Fire, but they did not win the prize. They did win other awards, including recognition for their live shows and for their albums.
Are Foals still together?
Yes, Foals are still active, with Yannis Philippakis, Jimmy Smith and Jack Bevan at the core of the band. They released Life Is Yours in 2022 and continue to tour and perform live.
