FEATURE: Spotlight: Revisited: Picture Parlour

FEATURE:

Spotlight: Revisited

Picture Parlour

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I spotlighted the amazing…

Picture Parlour back in 2023. A couple of years later, and a lot has happened. Their debut album, The Parlour, was released last month. Back in 2023, I talked about this band that consisted of Katherine Parlour (vocals and guitar), Ella Risi (guitar), Sian Lynch (bass), and Michael Nash (drums). Though, two years later, the core members are Katherine Parlour and Ella Risi. They are often joined by a rotating line-up of musicians for live shows, which in early-2025 included bassist Michael Nash, Kitty Fitz, and Joey Django. So a line-up shift or a slight reconfiguration has happened. Picture Parlour’s sound has slightly altered/expanded in the past couple of years. I think that the debut album is their most extraordinary and complete work. In April, they have a run of tour dates, including a date at Oslo Hackney on 21st. I might have to go to that gig, as the venue is very close to where I live. I am going to drop in some recent interviews with Picture Parlour. A great time to revisit a music force formerly based out of Manchester (Parlour and Risi met there as students). I believe they are now in London. I wonder if they will play a date in Manchester next year. I will end with a review for the exceptional The Parlour. Katherine Parlour and Ella Risi discuss one of the standout and brilliant debut albums of the year. I have said that a lot in features, though I feel The Parlour is in the top five best debuts of 2025! At the end of last month, DIY spoke with a sensational duo (I am referring to them as such, as the majority of press is conducted by Parlour and Risi) that “usher us into the places, culture and magic that shaped them, and which gave rise to the imaginary world of ‘The Parlour’”.

“Since that lightbulb moment at The Castle in Manchester, before bubbling together in lockdown, Ella and Katherine’s brief journey as Picture Parlour (later completed by drummer Michael Nash and, recently, touring musicians Joey Django and Kitty Fitz) has been more of a hurricane than a whirlwind.

2023 was the eye of the storm; they gained a fan in Courtney Love and earned a festival slot with Bruce Springsteen off the back of their live show, before debut single ‘Norwegian Wood’ had even landed. The industry buzz that followed the single’s release resulted in naysayers who tried to rip them apart, sneering ‘industry plant’ and belittling the word-of-mouth buzz they had built since relocating from Manchester to London. Understandably, the duo needed some time to retreat and recalibrate. “It scarred us a little bit,” admits Katherine, two-and-a-half years down the line. “It was a super conscious decision to put a pause on everything, [and reject] running with the wind to try and catch this buzzy moment.”

In an age where artists are constantly pressurised to capitalise on momentum, it’s proven vital that Picture Parlour acted to prevent things from spilling over. If they were not so “locked in” with one another, trusting the fact that they had each other’s backs, Ella suggests things might have gone differently.

“We opened the door to what we thought were our dreams, and everything in the room was on fire,” continues Katherine. “We closed the door, and promised each other that we’ll follow our instincts. Our idols, like Joan Jett, are people who demand control of their own destiny. You can hear it in the music, there’s this confidence and stubbornness. I don’t think that the greats made the legacy that they’ve got out of being ‘yes’ people.”

Channelling the spirit of legends like Jett, as well as David Bowie and The White Stripes, the duo’s “semi self-titled” debut album, ‘The Parlour’ is finally imminent. Written between London, Katherine’s hometown of Liverpool (Ella is originally from North Yorkshire) and Nashville, where it was recorded in September 2024, ‘The Parlour’ globetrotted its way into existence. So, how do we find this self-styled ‘parlour’?

Whipping ‘The Parlour’ into shape, one Jack Daniels and coke at a time, the end result is a culmination of the duo’s story so far, from the heartfelt balladry of ‘The Travelling Show’ to some of the “frustration and rage” that emanated from the confusion of their breakout period, which they bring onto their own terms via the tongue-in-cheek, playful ‘Talk About It’.

Today, as they finish the conversation on a street-side bench, they are demoing songs for their “darker” second album. Does that mean ‘The Parlour’ is closed for business? “I think we have no choice, we’re stuck with ‘The Parlour’ forever!” jokes Katherine. “The shit that we’re working on now feels like ‘The Parlour’ has been closed down, it’s all rubble, and there’s one old man, still there with his whiskey, refusing to leave. There’s just one candle on, in the corner of the room…”

After stepping back to figure out the type of band they wanted Picture Parlour to be, Ella and Katherine actually now find themselves “10 steps ahead”, deep into their second album before their first has even seen the light of day. Crucially, they tell DIY the pace is now entirely on their terms, ready to “crack on” with a renewed sense of clarity, “that maybe we didn’t have two years ago,” ponders Katherine.

“As they say, hunger is the best sauce, and that’s what I’m living by,” she smirks, before Ella doubles down with the final word. “We are very hungry for it”.

I love how Picture Parlour relocated to Nashville to record The Parlour. The city has attracted many British artists and provides inspiration and an incredible community of artists. NME spoke with the duo about their debut album, the work they are doing on the second album, and why they focused on northern Soul when it came to the sonic core of The Parlour. If you have not heard the album yet, it is such a wonderful experience. You will not forget it, I can guarantee! A big reason why I wanted to revisit the awesome Picture Parlour:

“You talk about the backlash around your breakout moment on ‘Talk About It’. How did that song help you process that experience, draw a line under it and move on?

Katherine Parlour: “‘Talk About It’ started as a joke. It was like, ‘You know what? Imagine if it was all fucking true and we were these industry plants – what would be the song that we do?’ It just started off as taking the piss, never gonna see the light of day. We finished it and, to be honest, we hated the song.”

Ella Risi: “It was the classic you put it at the bottom of the demo link, and everyone was like, ‘What’s that tune, though?’”

You recorded the album in Nashville, which is known as Music City. What was it like relocating there to work on this record?

Parlour: “We just didn’t sleep for three weeks.”

Risi: “We were jet lagged as well, so we were just naturally waking up at 5am, and after the studio, we didn’t want to go home, so we’d be like, ‘We gotta go out!’ We were just living off adrenaline.”

Parlour: “It was an amazing place to be. Growing up, my nan shoved Johnny Cash down my throat – she was all about country and ’50s rock’n’roll. So to get to go there… we went to the Johnny Cash Museum. I cried looking at the letters between Johnny and June – that got me going. We did all of the cliché things, like walking up and down Broadway and the honky tonk bars. One night, I got up and did a Johnny and June duet with some bloke with a huge handlebar moustache, so I felt like we really became local after that. The general Americana sound and that magic of Nashville bled into the record, which is everything we always wanted. We’ve always dreamt of being an international band, and a dream of mine is to go over to the States and tour, so for me, it was a dream come true, and it definitely impacted the album.”

The album was also inspired by Northern Soul, which is having a resurgence in the UK right now. Why do you think young people are connecting with that genre and culture?

Parlour: “There’s so many reasons. I was lucky enough to have a dad who did Northern Soul dancing with his brother when he was young, so I grew up with that. It reminds me of home. But I think the reason it’s connecting with so many people now, which is amazing to see, is not just about the music. Obviously, the music’s a sacred part of it, but it’s a sense of community, and it’s such a free space. It’s euphoric; you just let go. I think there’s a nice synergy there with live music and how going to gigs makes me feel.”

Risi: “But there’s an intimacy with Northern Soul in the community. We’ve been going to nights down here and we’ve met so many people. People are just craving human connections and care at the moment. I think that’s what the Northern Soul community prides itself on.”

How is that partnership feeding into album two, which you’re working on now? Where is this album taking you?

Parlour: “Straight away, it’s definitely darker. It feels a lot more confident as well. Obviously, I love album one, but it was written in the midst of a lot of changes and new things – having a manager and then getting a record deal. These things are just like The Twilight Zone.”

Risi: “I think now we trust ourselves and our creative instincts. Towards the end of album one, we were just like, ‘Fuck it, let’s do what we want to do, and it doesn’t matter if anybody thinks it’s going to be a hit, as long as we’re proud of it and we can stand by it and enjoy listening to it and love it.’”

Parlour: “I think reaching that for album one has really put us in good stead to just build for album two, so there’s a lot more creative confidence to this new record”.

I want to include a part of DORK’s November interview with Ella Risi and Katherine Parlour. It is hard to state what genre you can attach to The Parlour. I have mentioned Northern Soul, though DORK called it a “sexy, seedy rock record”. It is restrictive to label or pigeonhole the music, though there are elements of different genres and time periods. However, it is the unique vision of Picture Parlour that makes their debut so long-lasting. How it is familiar but fresh:

“The world of ‘The Parlour’ isn’t all mood lighting and lust, though. Tracks like ‘Talk About It’ are sharper, more direct. “We wrote it as a bit of a joke, a cathartic game for ourselves after being written off as industry plants early on,” they explain. “Those false narratives still impact us today; that’s the truth of the matter. It’s hard to know people have developed misinformed opinions on this project because of a rancid and misplaced witch hunt.” The anger is still there, but so is the perspective. “It thickened our skin very early on and reminded us how important it is for artists and fans to advocate across the board for minority groups who come under scrutiny for simply existing.”

Making the record brought lessons, too. “Patience. It is only possible to be patient when there is no choice but to be patient.” The songwriting pushed them into new territory. “A leap for me was writing with other people. It’s not something I’ve ever done or felt comfortable with,” one of them says. “Allowing myself to be open and honest enough to collaborate was a big leap. And to also stand my own ground when I knew a particular thing needed to be a certain way. I’m a professional compromiser now.”

Their influences go beyond music. “Film is always influencing our work. Particularly David Lynch, which I know a lot of musicians feel,” they say. Right now, it’s ‘Phantom of the Paradise’ that has their full attention. “I think that may be my muse for album two.”

And what’s the best thing someone could say about ‘The Parlour’? “There are two things. One, that it made them want to pick up a guitar or bass and learn a riff. Two, that it helps them get up and ready to kick some ass in their day-to-day life.”

As for what’s next, they’re keeping it honest. “Depends how this album does, to be honest.” But the dream? “Picture Parlour support tour with Jack White.” If that happens in 2026, you heard it here first.

Until then, there’s just one final message: “Buy the record and be nice”.

I am ending with a review from The Line of Best Fit. With an album cover that puts me in mind of Pink Floyd’s Wish You Were Here – just with less fire! – and music that will remain in your mind long after you have finished listening to it, I think they will have a huge 2026. It will be a year where they truly go worldwide. I can see some big U.S. dates very soon:

“On their debut LP, they justify the hype that has been building for the past two years. Describing the album as a jukebox, which is certainly apt, with influences ranging from Northern Soul to psychedelia and 70s rock n roll.

“Cielo Drive” captures the rock n roll influence in an explosive cocktail, Katherine Parlour’s vocals stretched and capturing something rough and ready. The dirty riffs recall their 70s influences, including T. Rex and Patti Smith. It is an expansion of the sounds the quintet has dabbled in on their eps and really sets the tone for what is to follow. There is an irrepressible energy that is palpable across the LP.

“Who’s There To Love Without You” also leans into a similar incendiary atmosphere, almost punk-like and full of swagger and verve. It is the sound of a group full of confidence and now bringing it to the masses.

While the group’s EPs leaned heavily into baroque sounds on the likes of “Judgement Day”, there is certainly more variety here. “24 Hr Open” is full of angst and dirty riffs; its grungier sound is a departure, but one Picture Parlour slips effortlessly into. It is to their credit that they do not rely on tried and tested sounds and push themselves, often rising to the challenge.

There are shades of a more pop-rock, new-wave sheen on “Used To Be Your Girlfriend”, however, this quickly segues into something more feral. It really cuts loose in its second half, allowing the rhythm section to unfurl. This track really strikes a nice balance between a lighter side to the group’s sound and the rougher moments earlier on.

The more operatic, baroque influences are still apparent in places. Having drawn comparisons to Alex Turner, this influence is more readily visible on “Around The Bend”. It is a melancholic, slow burner that, rather than feeling at odds with other parts of the record, feels like a natural extension and keeps it from ever being one note. It shows that they are as comfortable with quieter, intimate songs as they are with swirling epics. It offers more of an opportunity for their musicianship to shine through.

In addition to more classic rock and baroque influences, folk rock certainly feels more left field, but “Ronnie’s Note #3” sees them veer more into this territory with acoustic guitars and strings the main focus, alongside Parlour’s vocals. It is one of the album’s highlights and an area that, while unexpected, feels right given the range of their inspirations. There is a richness to the storytelling, and while clearly aping Nick Drake and Leonard Cohen, it is shot through with Picture Parlour’s distinctive brand.

The inclusion of “Norwegian Wood” feels a tad out of place given that other EP tracks are absent, but it serves as a reminder of what made audiences fall in love with the group in the first place and why it remains a fan favourite.

The Parlour embodies all of what makes Picture Parlour a unique force. There is such a heterogeneous mix to their sound, yet it never losses their singularity, spark, and charm. There is a broad crossover appeal, and there is so much to unpack. They have taken the sounds of their EPs and expanded into something more expansive, without losing what endeared them to audiences. This is a thrilling, evocative debut that lives up to the hype”.

Two years after I spotlighted Picture Parlour, I needed to come back to them and ensure anyone who has not heard them listens to them. As I started out by saying, there have been some changes and shifts, so things are not exactly the same as they were in 2023. If you have not heard this magnificent duo, then make sure you check them out. The Parlour is a truly exceptional debut album. However, you feel like Picture Parlour have just got started! It is fascinating imagining where they are going to be…