Start Listening To: Low Girl

Blending raw honesty with bittersweet euphoria, Low Girl’s debut album Is It Too Late To Freak Out turns late-twenties panic into something both cathartic and communal.

Low Girl have built a reputation for songs that cut straight to the heart, pairing tender vulnerability with a dance-ready pulse. What began as a solo project has grown into a close-knit band from the Home Counties, now stepping into their most collaborative era yet. On their debut album Is It Too Late To Freak Out, they embrace messiness and melancholy alongside horns, woodwinds, and moments of defiant joy. It’s a record born from personal lows, but one that ultimately points toward self-knowledge, connection, and starting again. Ahead of their headline UK tour, we caught up with Low Girl to talk about their creative process, late-night therapy sessions on stage, and why even the saddest songs should make you want to move.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

We are a close-knit group from the Home Counties and we primarily make music you can cry/dance to. Occasionally at the same time.

Can you share some insights into the creative process behind your upcoming album, especially regarding how the songs came together?

There’s quite a fusion of approaches when it comes to the songwriting on this album. It’s by far our most collaborative project, with much of the writing taking place in rehearsal rooms rather than on laptops.

What themes or messages do you hope to convey through the songs on your debut album, and how did they evolve during writing?

The songs on this album explore a time in my life where I was at my lowest and lost. Some are nicely packaged and presentable, others are uncomfortably messy and self-deprecating. I’d say that the addition of horns, grand piano and woodwind in the studio helped to evolve and emphasise the sadness and triumph we were trying to articulate. Despite all the pain that went into this project, the intention is meant to be quite the opposite. It’s about starting again and knowing yourself better for it. My biggest hope is that someone listening might innately ‘get it’ and feel less alone.

How did the transition from a solo project to a full band shape the sound and direction of Low Girl's music?

I think we’ve been slowly moving towards a more analog and live-feeling sound. The more ‘full band’ it’s become, the more we’ve paused to consider how things will translate when they are performed.

In what ways do you believe your background and experiences at Lincoln University have influenced your music and artistic identity?

Lincoln didn’t really have many grassroots venues compared to places known for their music scenes (Bristol, Brighton etc). I’d say that because of this, there was always more of a focus on fine tuning the writing rather than the performance. It’s not a big city, and there are long stretches of flat, quiet space. Without getting too A Level English about it, perhaps that setting bled into the introspective nature of those early songs.

Could you describe the visual elements or aesthetics that accompany your music, particularly in the 'Handbrake' video and album artwork?

There’s a very personal quality to our visuals as both myself and Toby try to make and design everything ourselves. In Handbrake, we used camcorders and lenses borrowed from friends to lean into a lo-fi, homemade aesthetic. A lot of our friends have also guest directed or featured, and I can’t express how nice it is to be able to bring people I love into a project I love.

As you prepare for your upcoming UK headline tour, what are you most excited about sharing with your fans during these live performances?

I think we’re all very excited at the thought of the audience hopefully recognising some of the album tracks. It feels like therapy playing through that set, so I’ll be getting a free session every night - which can only be good…

Are there any specific tracks from the new album that you feel particularly connected to, and why do they resonate with you?

I know all too well that we would each have a different answer, but for me it’s Driveway and I Love All My Friends. Each ending takes me in a different direction - driveway has this awful, vulnerable reveal at the end, while ILAMF resolves on a hopeful note. I was choking up while recording the vocals on both, and that honesty is what resonates with me.

How do you balance personal experiences and collective band dynamics when writing lyrics and composing music together?

Surprisingly well! Despite how different we can all be, everyone understood the brief with this album and brought parts that complimented the lyrics and intention. It felt like we were communicating with each other through each contribution.

What role does your local music community play in your artistic journey, and how has it supported your growth as a band?

Bedford, our adopted scene, has been absolutely crucial to our artistic journey. We met our manager through Bedford Esquires and it completely altered our trajectory. Without that scene, I genuinely don’t know where we would be.

Can you tell us about any memorable moments or experiences from past performances that have shaped your view on live music?

Watching Alvvays with Bradley in 2023 was very transformative. I’ve always felt a little unsure of myself as a front person. I’ve seen so many incredible performances where the lead singer is essentially doing acrobatics and whipping the crowd up into a frenzy. Yet, I felt totally compelled by this Alvvays set despite the fact that Molly Rankin was fairly rooted in place. She was quietly confident and direct. That felt a little bit more achievable for me and taught me that I’m not somehow failing by being myself. There’s much more room for growth, but it’s a place to start!

What inspired the title of your debut album, Is It Too Late To Freak Out?

We all liked the idea of the opening line being the title of the album, which is also a nice thing about opening the set with that track. It truly sums up the theme of late-twenties panic!

What do you love right now?

Alan Partridge’s podcast - from the Oasthouse

What do you hate right now?

When people don’t shift into a single file formation on the pavement in the event of an approaching pedestrian in the opposite direction. Come on guys!!

Name an album you’re still listening to from when you were younger and why it’s still important to you?

Bon Iver’s self-titled album! We actually all love that one. It feels like a warm hug and a safe harbour that I can always come back to, whatever mood I’m in. I think it’s important to have those constants in life.

When someone hears your music for the first time, what do you hope sticks with them?

I hope that the thought and authenticity that goes into our songs is clear and brings them back again. We really do this for the love of the craft, and I hope that comes across.