Oxford's Love Music Hate Racism returns to The Bullingdon's main room after their sold out shows last year for this special Electronic Against Hate lineup that features two of the most exciting and provocative female electronic artists based in the UK.

Anglo-French avant garde electronic artist Julia-Sophie headlines the main room at The Bullingdon. Her debut album 'forgive too slow' combines traditional songwriting roots with experimental electronica — intimate vocals backed by warm analogue synths and precise drum machines. Influences range from New Wave to folk confessional to house to avant-garde 80s pop. The songs narrate a story of self-destruction, love, and loss. By the end, embers are still burning — but there is a sense of getting closer to something authentic. This promises to be a treat for Oxford music fans already aware of her talent and a joy for those who have not yet had the chance to catch her live show.

Esoteric electronic artist Maria Uzor will be performing tracks from her brand new album, 'Fantasyland' and bringing her restless energy to the stage. Her music lands like a pirate broadcast from a distant corner of the galaxy. Inspired by both dark and light, order and chaos, power and vulnerability, she blends genres into new worlds, mixing electro, trip-hop, proto-rave, bass, and techno to create a soundtrack for the outsider in search of dance floor epiphany.

Support comes from Manchester born Oxford based solo DIY electronic vocalist Octavia Freud. He writes sardonic, funny and emotionally charged songs about the relationships he has with friends, family and the state. Expect some new politically charged songs from his latest side project with producer i4M2 called The Complex.

Oxford based DJ Simplex returns to The Bullingdon with his high energy Jump up Jungle and DnB mix style to kick start the party with what promises to be a special evening of joy, celebration and resistance.

Oxford Love Music Hate Racism will provide their merchandise and information stall for the public to come and say hello and support the resistance against the rise of the far-right. All profits raised from the gig will go towards LMHR's community work promoting equality and fighting racism and fascism across the county.

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JULIA-SOPHIE

As a multiple cover star of Oxford's Nightshift magazine and winner of the converted track of the year award for her track 'telephone', it is fair to say Julie-Sophie's music is highly regarded in Oxford's local music scene. The song is a breathless and dreamy synth pop masterpiece of heartbreak and longing. Julie-Sophie explains,

"In 'telephone' I wanted to communicate that feeling of true wistful love, that feeling you have when you find that one person who makes you feel more alive than anyone else ever has. It feels magical. But then, as always for me, real life comes in and fucks it all up. Once again, I find myself trapped by the stories of my past, the ones I spend my life trying to run from, only to find my self alone."

Julia-Sophie has had a successful musical career performing previously in the more rock focused acts Little Fish (UNIVERSAL MOTOWN/ISLAND RECORDS) and Candy Says (BEANIE TAPES). She has toured the US with artists like Blondie, Courtney Love, and Juliette Lewis as a founder of Little Fish, and earned millions of streams with Candy Says for songs in the films ‘Close’ and ‘Burn Burn Burn'.

Her solo work has been highly praised by The Quietus, Bandcamp Daily, TLOBF, Lauren Laverne, Mary Anne Hobbs, Nemone, Don Letts, Huw Stephens, Our Culture, Under the Radar, Electronic Sound, and many others.

“Elegant and smoky electronic pop…Widescreen and ambitious, embodying both the freedom that comes with independent musicianship.” – The Quietus

“A forward thinking avant-popster.” – Electronic Sound

“Captivating synth textures, spiraling melodies, and intricate rhythms.” – The Line of Best Fit

“Mesmerizing…Worlds away from her garage-rock and pop beginnings in DIY bands...you can practically hear her tears within the soft, synth-led soundscape."

– Bandcamp Daily

“The rising talent has garnered comparisons to alt-pop icons such as FKA twigs and Grimes, punctuating an ethereal, synth-washed production

with her haunting vocal range” – DMY

'forgive too slow’ is the aching and ambitious debut solo album in her current electronic direction of travel. Her weird and winding journey to this debut has included experiences as an international major label artist (“I didn’t care enough about being famous to survive all the sh*t that was being thrown at me.”), recording film scores, motherhood, and much more.

The album is about relationships and what happens when we “forgive too slow” and can’t break out of patterns from the past. The songs narrate her story of self-destruction (“numb”), love (“falling”), and loss (“telephone”). By the end, embers are still b

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