Lambrini Girls
When the Lambrini Girls ripped off their hooves earlier this decade, serving up an uncompromising message of legitimate rage, created to galvanize the left into action and infuriate the right. Phoebe Lunny and Selin Macieira-Boşgelmez revealed themselves as a band that some (internet trolls, transphobes, and most any “-ists”) might not want, but that we all needed.
With their 2025 debut album, “Who Let The Dogs Out,” the Brighton-based duo watched their music grow stronger and reach further than they could have imagined: to the UK's Top 20 sales charts, to magazine covers from “Kerrang!” after “NME” and on sold-out tours around the world. Fighting for the right cause with courage, sharp wit, and unmistakable, chaotic slaughterhouse-filled live performances, one could get the impression that the Lambrini Girls had reached their climax — driving the exact ones they needed crazy, and watching the crowds grow in parallel beneath their stage — at the perfect moment for the world who has gone mad. And then the world became even worse.
And at that moment comes “No Refunds”: an album darker, even more direct and radical, created for a moment in history in which little else makes any sense. Its contents read like a litany of modern nightmares: genocide, fascism, the expansion of AI and rolling into the seedy basements of the “manosphere”. The fact that all these terrifying phenomena are happening simultaneously, in such a short time since the debut of Lambrini Girls (less than two years ago), shows how much the creation of this record was a pressing need for them. The album represents a huge step forward for the band, both in terms of confidence and maturity of the lyrics, as well as the momentum and performance of the accompanying music.
Klub Niebo
Lambrini Girls
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When the Lambrini Girls ripped off their hooves earlier this decade, serving up an uncompromising message of legitimate rage, created to galvanize the left into action and infuriate the right. Phoebe Lunny and Selin Macieira-Boşgelmez revealed themselves as a band that some (internet trolls, transphobes, and most any “-ists”) might not want, but that we all needed.
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