As with any music that doesn't fall neatly into a 'category' we are often asked these questions: "What do you sound like?", "What type of music do you play?", "What genre are you?"

After much soul-searching and analysis this group has concluded that it is a Pop Band.

There is no other way to describe what we write and perform as a group of musicians. But pinning your colours to the mast does mean being prepared for some highly subjective interpretations of the words 'Pop' & 'Music' (all of which probably have much validity).  

To help further with this reflection here's a great quote we came across from the introduction to Stuart Maconie's fantastic book, 'The People's Songs - The Story of Modern Britain in 50 Records'.  

But I’d argue that what we call pop music - that mongel hybrid of rock, vaudeville, folk ballad, dance music, classroom hymns, street corner soul and classical music, that art form so plastic and pliable that it can embrace the wildest avant-garde experimentation and the most primitive and basic chants and beats - is a uniquely British invention. A music that has no one stylistic constant but a defiant, un-sanctioned concept at its heart, the ability to speak to people, to affect people, to occupy people to transform their lives or divert them for a moment, to console, to enrage, to amuse, to arouse. This then is a music that happens without the approval of critic or teacher or politician or pulpit. It both nods to history and makes history. But it happens without anyone’s permission. Pop music runs like a seam of the coal we once mined, like the lettering in the rock we buy at the seaside, like a thread in a tapestry through, the warp and weft of the fabric of our daily life. No other art form, not film, not literature, not the theatre, gives the authentic whiff and flavour of the time like the pop charts of the day.
— Stuart Maconie, The People's Songs