THE FRONT ROW

Sheffield’s Harri Larkin returns with a genre-blurring triumph in the form of new EP Slowburn, out now via Golden Robot Records. It’s a project that leans into emotional nuance without ever losing its melodic punch, equal parts alt-pop, jazz, soul, and gritty indie energy. Clocking in at four tracks, it’s compact but confident, a statement of growth from an artist who thrives in the in-between.

Opening with Eye to Eye, the EP wastes no time getting into gear. A proper foot-tapper, this one bursts out the gate with snappy, staccato guitar riffs and an irresistibly rhythmic pulse. It’s playful but punchy, with shades of early Wolf Alice in its indie-rock urgency, imagine My Love Is Cool filtered through the lens of a sunny afternoon jam session. Harri’s vocal rides the groove with ease, teasing tension in the verses and letting loose just enough in the chorus to keep you coming back. It’s an ideal opener: sharp, immediate, and full of intent.

Track two, Too Close to the Sun, dials things back into smokier territory. There’s no heavy-handed grief anthem here, instead, Harri leads with a jazzy, blues-soaked vocal line that feels more Paolo Nutini than anything else, rhythmically tight but emotionally loose. The instrumentation keeps it classy: subtle brass textures, low-slung bass, and gentle keys all sitting behind a voice that does all the storytelling. There’s an emotional weight under the surface, sure, but it’s the kind of song that lets you feel what you need to feel, rather than spelling it all out.

The Old Days takes another genre swerve, this time into something that feels like folk-Motown fusion. It’s got that bittersweet, timeless feel you’d expect from a dusty Amy Winehouse B-side, all wrapped up in dive-bar reverb and retro soul. The track is understated but warm, with vocal harmonies that glow and a swinging groove that harks back to classic songwriting. It’s nostalgia without the cheese, sentiment without the sap, and a real showcase of the band’s ability to shift mood and style without losing focus.

Closing the EP is Say It With Some Feeling, the longest track here and maybe the most fully realised. Jangly guitars thread throughout, echoing some of the staccato energy from the opener but with more melodic depth and emotional layering. There’s a gentle swell to the arrangement; it doesn’t rush to the payoff, instead building patiently and confidently. The chorus has a pop sensibility, hooky, repeatable, but held back just enough to keep things feeling cool and grounded. It’s got that late-night, windows-down, slow-drive home energy: reflective, catchy, and quietly powerful.

Across all four tracks, the musicianship is tight and expressive. Harri Tape (guitar, vocals), Abi Middleton (backing vocals), Tom Wylie (guitar), Oscar South (bass), and Danton Laromani (drums) operate like a band that’s spent time refining their sound, each player giving space where it’s needed and stepping up when it counts. There’s no overplaying or flashy indulgence—just smart choices and a clear sense of identity.

What ties Slowburn together isn’t genre or tempo, it’s intent. This is music that feels lived-in and authentic, not chasing trends or fitting into neat boxes. Harri Larkin has a voice, both literally and artistically, that’s uniquely hers, and Slowburn is the sound of that voice growing louder, more assured, and more emotionally resonant.

It’s not often a four-track EP can show this much range without sounding scattered, but Slowburn pulls it off with ease. It’s a short journey that leaves a long impression, intimate, stylish, and dripping with soul. Wherever Harri Larkin goes next, this EP makes one thing clear: you’ll want to be along for the ride.