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Bethan Harper

Bethan Harper

I'm a music-obsessed, guitar-playing Brit who adores writing. I love the moon, Bruce Springsteen and the winter. If you want to find me on a rainy day I'll probably be at the beach.

James Gillespie © 2020
Music, Music Videos, PremieresFebruary 26, 2020<February 25, 2020

Video Premiere: James Gillespie’s “ICFTI” Is Awash in Autumnal Hues & Seductive Visuals

Boardmasters Festival 2020
Festival, Music, PreviewsFebruary 25, 2020<February 25, 2020

Preview: Boardmasters Festival 2020 Lineup Features Musical Giants King of Leon, The 1975 & More

Temporary Love - April Ivy
Music, PremieresFebruary 20, 2020<February 19, 2020

Premiere: April Ivy’s Tender & Seductive Song “Temporary Love”

Hit and Run EP - Larkins
Music, ReviewsFebruary 14, 2020<February 14, 2020

EP Review: Larkins’ ‘Hit and Run’ Is the Perfect Mash-Up of the Old, New, and Unexpected

Circa Waves © 2020
Features, Interviews, MusicJanuary 29, 2020<February 6, 2020

Making Music Videos, Self-Deprecation and the End of the World: An Interview with Circa Waves

Marigold - Pinegrove
Music, ReviewsJanuary 16, 2020<January 17, 2020

Review: Pinegrove Touch on Themes of Isolation & Monotony in 4th Album ‘Marigold’

Larkins
Columns, Music, Today's SongJanuary 15, 2020<January 15, 2020

Today’s Song: Larkins Search for Human Connections During Turbulent Times on New Song “Flood”

John Mayer
Columns, Music, Nostalgia TracksJanuary 10, 2020<January 9, 2020

Nostalgia Tracks: John Mayer’s “Vultures” Is a Truly Timeless Song

Fickle Friends © Bethan Harper
Concerts, Music, ReviewsDecember 11, 2019<December 10, 2019

Live Review: A Night of Perfect Pop with Fickle Friends at The Joiners, Southampton

Will Joseph Cook
Columns, Music, Today's SongDecember 2, 2019<December 2, 2019

Today’s Song: Will Joseph Cook Playfully Addresses Societal Issues in His Single “The Dragon”

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Recent Posts

  • “I Love Weird Sounds with a Lot of Texture”: Fig Tape Serves Up ‘Forcefed Serenity,’ a Genre-Blurring Fever Dream December 5, 2025
  • Today’s Song: Vân Scott’s “Turn Off the Tears” Is an Expansive Anthem of Resilience & Unshakable Spirit December 5, 2025
  • “I’ve heard happiness starts here”: East London’s Lucia Rivero Finds Abundance in Absence on “Nowhere” December 4, 2025
  • “What a Beautiful Thing”: Dijon Triumphs with ‘Baby,’ an All-Consuming Fever Dream of Love, Devotion, & the “Mania of Domesticity” December 4, 2025
  • “Hope Isn’t This Constant Flame; It Flickers a Bit”: Amanda Bergman on Musical Acts of Protest, Refusing to Go Numb, and Staying Grounded in a World Coming Undone December 4, 2025
  • “There Is No Right Path”: Katelyn Tarver on Choosing Herself and Becoming the Example That Was Missing December 4, 2025
  • “We’re Coming Home Again”: Of Monsters and Men Reset, Reconnect, & Rediscover Themselves on the Communal Odyssey of ‘All Is Love and Pain in the Mouse Parade’ December 3, 2025
  • “I Want to Be Able to Speak Openly About What Hurts”: Marem Ladson Confronts Her Past & Finds Her Voice on “Cavity,” a Dreamy Indie Folk Reverie December 3, 2025
  • “I’m Not the Bootleg Version of Any Artist”: Gabriel Jacoby Stakes His Claim with Swagger, Sweat, and Southern Fire on ‘gutta child’ December 3, 2025
  • “Love Is Not the Antidote”: Dove Ellis Reckons with Love’s Limits on “Love Is,” an Aching & Unrestrained Unraveling December 3, 2025
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Disclaimer: Atwood Magazine is a publication dedicated to celebrating fresh voices in music, culture, and the arts. The views and opinions expressed in our articles, reviews, and interviews are those of the individual writers and do not necessarily reflect the opinions of Atwood Magazine as a whole.

© Atwood Magazine 2024 For the Love of Music
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