Bio provided by artist:
Whilst murmurs and rumblings of a new and exciting act circulated the city of Brighton, a vague announcement for a brand new band headlining their debut show with nothing more than just images of the back of the band members and a name, was hotly being tipped as the most exciting gig of the year. With tickets swiftly selling out Brighton music fans packed into a sold out basement in the heart of the city all in anticipation to hear the first hello from ‘Goodbye’.
‘Goodbye’s’ inception was one immersed in mystique, the intrigue built around the band and their unconventional approaches to garnering fanbases (leaking demos, releasing limited edition cassettes and hand crafting collectible zines) is all part of Goodbye’s eclectic charm. More than just a strategy Goodbye’s ambivalence is a DNA that deeply weaves through the band’s strange yet beautiful universe and directly mirrors their unique sonic blend. The result? A beautifully misaligned expectation of what the band might be.
‘Jangle, dream-pop and shoegaze threads are pulled from different corners, with The Sundays and Cocteau Twins brushing up against My Bloody Valentine and Stereolab harmonies colliding with percussion that owes more to Death Grips than any indie comfort zone. What emerges is a tapestry that feels familiar enough to sink into but strange enough to stay with you – airy and gory, sweet and feral, glittering guitars framing lyrics that cut straight to the bone.’ – Rapture Mag
It didn’t take long for audiences across the UK to start taking notice of Brighton’s newest and most talked about oddity. With standout performances at festivals including The Great Escape, Mutations, Manchester Psych Fest and Wilderness, alongside support slots with artists such as Lambrini Girls, Lime Garden, mary in the junkyard, TTSSFU and bdrmm. The band cemented their reputation as a formidable live force in the UK’s touring circuit, and soon (before releasing a single note of recorded music) Goodbye were already drawing attention from tastemakers including NME, So Young and Dork. Behind the scenes, however, the band were meticulously refining a body of recorded work capable of holding a candle to their early and blossoming acclaim.
‘These Things Take Time’ Goodbye’s debut EP due for release this spring was recorded at RAK & Unwound studios with longtime friend and collaborator Morgan Fraser Jones, blending Goodbye’s sonic experimentation with Fraser Jones’ vast engineering experience to create a sound that uniquely displays how closely tenderness & discourse are bonded. With weaving intricate guitar lines & beautifully haunting vocals over textured and syncopated rhythms, Goodbye’s sound heralded by NME as ‘ones to watch’ dances the line between delicate nostalgia and intentional cacophony.
Their debut single ‘Meat’ arrived on 3 December 2025 slipping promptly into the ears of Dork, So Young, Radio 6, KEXP. ‘Meat’ captures the band’s agitated dream-pop in one soaring 3 minute burst. Comforting yet coarse, vulnerable yet tough, jangly guitars matched driving rhythms glisten with arresting vocals, pushed to the fore, diving straight for the quick of the heart.
Whilst ‘Meat’ is left deliberately ambiguous lyrically, letting audiences decide for themselves if the emotionally stimulating track presents anguish, release, or acceptance. Goodbye’s next single ’13a’ is an assured walk through the planes of emotional melancholia. Framing ache as collateral in the joy once shared in intimate emotional bonds. Beyond the point of bitterness, anger, or wallowing- 13a is a song about taking triumph in letting go, no matter how much it hurts to do so. Driving rhythm sections bring an urgency to the track as vocal & guitar melodies share the spotlight before a grande finale of interwoven emotional climax. Due for release on Tuesday 26th February arriving just in time for the band’s sold out tour with Lime Garden, ’13a’ is the sound of a band with firm intention.
Bio provided by artist:
Whilst murmurs and rumblings of a new and exciting act circulated the city of Brighton, a vague announcement for a brand new band headlining their debut show with nothing more than just images of the back of the band members and a name, was hotly being tipped as the most exciting gig of the year. With tickets swiftly selling out Brighton music fans packed into a sold out basement in the heart of the city all in anticipation to hear the first hello from ‘Goodbye’.
‘Goodbye’s’ inception was one immersed in mystique, the intrigue built around the band and their unconventional approaches to garnering fanbases (leaking demos, releasing limited edition cassettes and hand crafting collectible zines) is all part of Goodbye's eclectic charm. More than just a strategy Goodbye's ambivalence is a DNA that deeply weaves through the band's strange yet beautiful universe and directly mirrors their unique sonic blend. The result? A beautifully misaligned expectation of what the band might be.
‘Jangle, dream-pop and shoegaze threads are pulled from different corners, with The Sundays and Cocteau Twins brushing up against My Bloody Valentine and Stereolab harmonies colliding with percussion that owes more to Death Grips than any indie comfort zone. What emerges is a tapestry that feels familiar enough to sink into but strange enough to stay with you - airy and gory, sweet and feral, glittering guitars framing lyrics that cut straight to the bone.’ - Rapture Mag
It didn’t take long for audiences across the UK to start taking notice of Brighton’s newest and most talked about oddity. With standout performances at festivals including The Great Escape, Mutations, Manchester Psych Fest and Wilderness, alongside support slots with artists such as Lambrini Girls, Lime Garden, mary in the junkyard, TTSSFU and bdrmm. The band cemented their reputation as a formidable live force in the UK's touring circuit, and soon (before releasing a single note of recorded music) Goodbye were already drawing attention from tastemakers including NME, So Young and Dork. Behind the scenes, however, the band were meticulously refining a body of recorded work capable of holding a candle to their early and blossoming acclaim.
'These Things Take Time’ Goodbye's debut EP due for release this spring was recorded at RAK & Unwound studios with longtime friend and collaborator Morgan Fraser Jones, blending Goodbye's sonic experimentation with Fraser Jones’ vast engineering experience to create a sound that uniquely displays how closely tenderness & discourse are bonded. With weaving intricate guitar lines & beautifully haunting vocals over textured and syncopated rhythms, Goodbye's sound heralded by NME as ‘ones to watch' dances the line between delicate nostalgia and intentional cacophony.
Their debut single ‘Meat’ arrived on 3 December 2025 slipping promptly into the ears of Dork, So Young, Radio 6, KEXP. 'Meat' captures the band's agitated dream-pop in one soaring 3 minute burst. Comforting yet coarse, vulnerable yet tough, jangly guitars matched driving rhythms glisten with arresting vocals, pushed to the fore, diving straight for the quick of the heart.
Whilst ‘Meat’ is left deliberately ambiguous lyrically, letting audiences decide for themselves if the emotionally stimulating track presents anguish, release, or acceptance. Goodbye's next single '13a' is an assured walk through the planes of emotional melancholia. Framing ache as collateral in the joy once shared in intimate emotional bonds. Beyond the point of bitterness, anger, or wallowing- 13a is a song about taking triumph in letting go, no matter how much it hurts to do so. Driving rhythm sections bring an urgency to the track as vocal & guitar melodies share the spotlight before a grande finale of interwoven emotional climax. Due for release on Tuesday 26th February arriving just in time for the band's sold out tour with Lime Garden, '13a' is the sound of a band with firm intention.