Sugar Horse

Tapestry Promotions are proud to present:

Sugar Horse

Freeze frame, camera zooms in and it’s Bristol: land of graffiti stencils, gut rot cider and boys who think “trip-hop”

was a moral movement. Four “people” decided music hadn’t yet been punished enough. Thus, in 2015, Sugar

Horse was born—and what a harrowing birth it was.

They’ve been busy. Like, dangerously busy. The sort of prolific that suggests either artistic brilliance or a manic

episode. At least one EP, album, or single per year since 2018. A level of output only ever seen from harsh noise

loners and The Fall. Inconveniently, Sugar Horse are actually good. Or at least interesting. Which, in the UK, is

basically heresy.

Their first album, The Live Long After (2021, Small Pond Records), arrived like fireworks in a vicarage. It was

beautiful, deafening and deeply confusing to anyone still nostalgic for Britpop. Then came the collaborations:

Pupil Slicer, Conjurer, IDLES, Mike Vennart (Oceansize, Biffy Clyro, Empire State Bastard), LLNN, Black

Peaks, Nuala Honan, and wych elm—a roll call of every UK band that refuses to sit politely in a genre. Sugar

Horse, naturally, built them a cage, filled it with petrol, and burnt the bastard down.

2024 second album The Grand Scheme of Things arrived via Pelagic Records. A record so sprawling and

self-aware it might as well have come with a footnote explaining that it was supposed to make you

uncomfortable. Some called it ambitious; others called it pretentious. Both were right. The sacred and the

profane. It annoyed and delighted in equal measure, but was never—repeat, NEVER—boring.

Because a band like Sugar Horse aren't here to please. They’re here to exist, loudly, until the rest of the UK

collapses under the weight of their own cowardice.