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Rosemary Schonfeld brings an acid-humour approach to homophobia with new single ‘Everyone Hates Lesbians’

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Following recent single ‘Chorus of Friends and Jean’, Rosemary Schonfeld is set to release new single ‘Everyone Hates Lesbians’ as the next taster of her forthcoming rock opera concept album ‘Sandy and Jean’.

As track 7 out of the 12 on the album, which is set in the 1980s against the backdrop of the homophobic legislation introduced by the Tories: Section 28, the song follows the story of Sandy and Jean’s lesbian relationship and how Sandy cannot find the courage to leave her husband, Jon. Both Sandy and Jean have children, and Jean is a teacher. In the 1980s Lesbian mothers could lose custody of their children when they left their husband and gay teachers were at risk of being sacked if they came out.

With a Dorothy Parker and Edith Sitwell-like acid-humour approach to homophobia, ‘Everyone Hates Lesbians’ charts the history of anti-gay and lesbian persecution over the past two thousand years, bringing us to Section 28 in the UK in the 1980s. Jean, a teacher, who has recently come out and is over the moon about her new relationship with Sandy, has talked to a friend about how happy she is, and how she wants to share her wonderful news with everyone. Jean’s friend is much more savvy and tries to explain to her the reasons why it is not safe for her to do so.

Musically, the track is an upbeat bouncy number, with an accordion adding a Balkan-folk feel, as Rosemary expresses the intense back and forth of Sandy and Jean’s dilemma with tantalising acerbic wit. Whilst having the feel of being part of a musical, with a fun novelty theatrical chaos abounding the song, ‘Everyone Hates Lesbians’ also stands forthrightly on its own as an important new anti-homophobic anthem with a serious message for 2025 and beyond.

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Reece Rosé Bottles the Feeling on “Misbehaving”

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Reece Rosé

Reece Rosé is not trying to reinvent the wheel. He is here to remind you why it worked in the first place. With “Misbehaving”, the rising electronic artist taps into something instantly familiar, then flips it into a feel-good house cut that lands right where nostalgia meets the dancefloor.

Teaming up with Capri Everitt, Reece Rosé leans into warm textures and groove-driven production that echo the roots of early ’90s house and UK garage. The result is effortless but intentional. Smooth chords, playful rhythms, and just enough bounce to keep things moving without overcomplicating the mood.

“Misbehaving” plays like a memory you did not realize you still had. Late nights, no responsibilities, music loud enough to blur everything else. It pulls from that space where time felt slower but nights somehow lasted longer. “It’s a reminder of those carefree high school days, when life felt simple, the nights felt endless, and the only thing that mattered was the music and the memories we were making,” Rosé explains. And that feeling runs through every second of the track.

What makes it click is that it never gets stuck in the past. The influences are clear, but the execution stays sharp and current. This is not revival for the sake of it. It is a continuation. Rosé understands the DNA of dance music and builds on it, keeping the energy light, summery, and forward-facing.

That balance is quickly becoming his signature. With international airplay on Kiss FM UK and Insomniac Radio, plus support from names like AC Slater, Zeds Dead, Boombox Cartel, DJ Q, REH4B, and DJ Craze, his momentum is building in all the right places. On Beatport, his releases are already making noise, proving that his sound connects both in clubs and beyond.

“Misbehaving” does not try too hard. It does not need to. It is light, nostalgic, and built to move. The kind of track that makes you look back for a second, then pulls you straight into the moment.

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