Lambrini Girls: “This is exactly what was meant to come out. This is exactly the kind of album that was meant to be written”

Lambrini Girls went old-school rock’n’roll for the making of their debut album. Not musically, but energetically. With very little time and plenty of alcohol, the Brighton duo managed to whizz through its recording. After all, where Lambrini is in the name, there’s inevitably a few bevs in the game.

“I think there was a manic surrender where we were like, ‘Right, studio’s booked. We’ve got to have something by the time we go in there, so we’re going to write some songs and they’re going to be what they’re going to fucking be,’” explains bassist Lilly Macieira. “A big part of that was just losing all inhibitions, shutting off the mundane part of your brain.”

Though not ideal to have your first record’s studio time sandwiched between international tour dates and festival shows, nonetheless it worked. Who Let The Dogs Out is an 11-track record, exploring everything from sexist work environments, to creative industry nepotism, and neurodivergence.

Lyrically, vocalist and guitarist Phoebe Lunny has penned some of her most personal to date, and sonically, the duo have explored new textures, new gear, and push themselves to create even craftier guitars, dominating basslines, and kooky synth work.

“The most important benchmark in any artist’s career is their debut album, and you get reminded of that all of the time,” says Phoebe of the pressure that sat on their shoulders. “[I’m] really proud of what we’ve done.”

“Even if we had started writing the album earlier and [had] been more methodical about it, I don’t think the result would have been any different,” states Lilly. “I think this is exactly what was meant to come out, and this is exactly the kind of album that was meant to be written.

“We get labelled as a three chord punk band a lot – which is fine, there’s nothing wrong with three chord punk bands at all – but I do think that sometimes our musicianship gets a little bit overlooked on account of us being women, and that’s in combination with getting patronised by fucking sound techs when we’re playing gigs and stuff,” she expands.

Lambrini Girls’ first EP, You’re Welcome, landed back in 2023. The time that has passed since is a blur of triumphant sets at Glastonbury and Reading & Leeds, but also important fights for trans rights and support for Palestinians amid ongoing devastation in their country.

At the core of what Lambrini Girls do, they just hope their music finds those who need it, and offers a sort of comfort to those who relate. As for those who don’t understand, they hope it challenges them to question their beliefs. Dealing with the not-always-agreeable latter portion of listeners is something the band are perpetually learning to navigate.

“You have to think very critically about the way you do it,” Phoebe says of their activism. “Part of that comes with recognising your own privilege, that you’re able to [even] do those things. I do very much stand by the point that every artist who has a platform should be using it, but you have to be very mindful about the way that you’re using it and make sure you’re compartmentalising what’s actually constructive and what’s your own anger.”

Aware of the heavy content matter within their music, Lambrini Girls spice things up with a little comic relief. The final track on the forthcoming album, C**tology 101, is an example of such playful weirdness. As Phoebe explains, it’s for “the girls, the gays and the theys”.

“We recorded it at Echo Zoo, and we used two Moog Model D [synthesisers], which are worth, I don’t know, four grand each? We used them just because they were there. We were just being fucking stupid with it.

“I did want to write something which was affirming and about loving yourself and having self-assurance and confidence, but it is also a really fucking stupid song. Arguably all of those things that we sing about are c**ty and we’ll stand by that. That was kind of just something a bit more light-hearted.”

The Lambrinis also break away from punk band stereotypes by plainly doing shit that doesn’t make sense. The new album’s title, for example, has no particular inspiration whatsoever.

“We just say stupid shit to each other all the time,” Lilly explains, “like whether it’s ‘peanut butter jelly time’ or ‘who let the dogs out’. It’s just funny. I don’t know where it came from.”

“People really want to find meaning in things when sometimes we’re just being stupid idiots,” smiles Phoebe. “With our EP, it was a flaming pile of shit [on the cover art], and people were like, ‘Is this some reference to society or late stage capitalism?’ And we’d be like, ‘No, it’s just a flaming pile of shit.’”

The tomfoolery expands to the live environment, too. We predict in five years that a Lambrini Girls show will see them airbourne to some capacity. Think P!nk’s aerial acrobatics, but a little more feral. “I’d love to fucking skydive, like bungee jump into an arena or something,” Phoebe’s eyes shimmer. “I’d love to get shot out of a cannon like Evel Knievel, or get more food involved in the shows.”

If we’ve learned one thing about Lambrini Girls, it’s don’t question their antics. Plainly because they’re not to be dissected. “One day, I swear to God, we will play inside a Travis Perkins,” Lilly declares. Yes, she means the builders’ merchant. No, we do not understand why. But would we attend? Abso-fucking-lutely.

Who Let The Dogs Out might only be album number one, but we can assure you with Lambrini Girls, anything is paw-ssible.

Who Let The Dogs Out is released on January 10 via City Slang.

Read this next:

• Gen And The Degenerates: “Our songs always come with a positive spin or a sense of humour”
• Amyl And The Sniffers: “This music is about my whole life, and where it will take me. I’m still figuring it all the fuck out”
• Sprints: “I’ve always wanted our music to matter and say something”