War Child Records, HELP(2)

On one holy day in September 1995, the biggest names in British music, and the young indie, underground scene, gathered together in a studio. Less than a week later, HELP was released to the world by War Child Records. The record was created in response to the turmoil that was unfolding in Bosnia and Herzegovina then, and the proceeds were used to quickly aid children affected by the conflict. Not only was the cause great and just, the album gave us a beautiful, melancholy-tinged snapshot of the brilliant music being churned out by powerhouse artists at the time. Sinead O’Connor, Radiohead, Paul McCartney, The Stone Roses, Oasis, and Blur all contributed tracks to the record, just to name a few.

World crises that forced that record to be made have unfortunately continued on to this day and have inspired a new age of artists to unite and aid another timely cause. The music worlds’ best and buzziest artists have contributed their art once more to support children and their families in countries including Gaza, Sudan, Yemen, Ukraine, Afghanistan, and the Democratic Republic of Congo. This time around on HELP(2), War Child Records diversified their catalogue, not only by including artists from the United States, the UK, and Ireland, but in the genres and moods present. There are a slew of original tracks that diverge from some artists’ normal offerings alongside earth-shatteringly gorgeous covers of songs that have stood the test of time and strife. With contributions from Cameron Winter to Olivia Rodrigo to Arctic Monkeys, HELP(2) is the stunning combined effort of your favorite artists championing a worthy cause with a message the world needs now more than ever.

The compilation record opens up with “Opening Night” by Arctic Monkeys. On what many say may be the band’s farewell track, we see the Sheffield group in their element, with silky vocals from Alex Turner and classic distorted guitars. “Flags” follows, a grand collaboration from Damon Albarn of Blur and Gorillaz, poet and performer Kae Tempest, and Grian Chatten, Irish musician and lead of Fontaines D.C. Beyond the touching piano mixed with heavier drums, this song is filled with poignant lines that discuss flags, whether one of a country’s pride or one of surrender. “The flags are breezing with a brand new feeling/ You feel the fear where you once felt pride,” describing how times of war bring about different emotions than pride for one’s country.

From there, we delve into “Strangers” by Black Country, New Road, chock full of brilliant harmonies and the bounciest melody. Another mighty UK band English Teacher teamed up with Blur’s Graham Coxon to deliver a track with frilly guitars and raw, biting vocals from lead singer Lily Fontaine. The Last Dinner Party and Wet Leg provide tracks “Let’s Do It Again!” and “Obvious”, respectively, both of which see them honing their growing talent and surprised me wonderfully. If it was not already apparent, Britain is the breeding ground for some of the world’s best alternative rock acts right now and HELP(2) brought together a swarm of them.

Big Thief’s appearance on this album delighted me, as they felt like a perfect addition to the message of the project. On their “Relive, Redie”, listeners are fed an ambient, galloping beat perfectly complimented by lead singer Adrianne Lenker’s yearning hum. Bat for Lashes’ “Carried my girl” offers an impassioned, almost religious prayer, while King Krule’s “The 343 Loop” continues with its stirring ambience and emotion, being named after the bus route around where the artist grew up in London. “When the War is Finally Done” by Foals is grand and inviting while also containing lines like “Leave our flowers in the wreckage of their guns”, not allowing any theme to be forgotten. “Sunday Light” from Anna Calvi, Nilüfer Yanya, Dove Ellis, and Ellie Rowsell follows as a divine and penetrating hymn with voices so powerful that tears will assuredly fall.

On “Helicopters”, Greentea Peng teams up with Ezra Collective to offer commentary on police misaction coupled with a lack of reaction over a hazy, island beat. “Helicopters/ You’re circling the wrong guys/ There’s no trouble here/ We’re just tryna live in peace,” some repeated lines throughout the song that double down on the message at hand. Arlo Parks and Sampha both provide soulful, vocal forward tracks in “Nothing I Could Hide” and “Naboo”, respectively.

In juxtaposition to those soft, groovy tracks, there are also some heavy hitters on the album. Depeche Mode bring their classic synthy, electronic rock with "Universal Soldier”, a domineering version of Buffy Sainte-Marie’s folk-protest song. “Don’t Fight the Young” by Young Fathers brings the most raucous rock energy on the record and is followed by Pulp’s “Begging for Change”, which accompanies the previous track nicely in overflowing with passionate, frustrated emotion.

Though HELP(2) is made up of mostly original songs, its covers do not disappoint in the slightest. Beth Gibbons of Portishead covers The Velvet Underground's “Sunday Morning”, Arooj Aftab and Beck do “Lilac Wine”, and Beabadoobee offers a rendition of Elliot Smith’s “Say Yes”, each filled with the utmost sincerity and care. A definitive highlight of this project is Fontaines D.C.’s cover of “Black Boys on Mopeds”, the Sinead O’Connor piece that highlights racism and police brutality in Thatcher-era UK. The Irish rockers bring their dark, jangly spin on the soft yet moving protest song that feels right at home on this collaborative album.

In true Cameron Winter fashion, “Warning” is less of a cautionary track and more of a threatening message to evildoers in places of power who continue to get away with harming others. “There is so much work to be done on your heart/ And it’s not the kind of work that you do around the house”. He explains that there are cosmic forces of karma that will catch up to these people in due time. Beyond that, there are also those who wish to inflict justice onto these villains themselves, this track working almost as a call to action. “This is your warning/ Fuck you,” a sentiment that echoes what citizens of the world feel towards many world leaders at the moment.

The Magnetic Fields’ “The Book of Love” was released in 1999 yet is one of those timeless songs that seems to have always been with us and always will be. Though Olivia Rodrigo has been leaning more pop rock in her own releases, this cover sees her return to her balladry roots in full form. It is measured, emotional, and finishes this record out on the perfect note. “The book of love has music in it/ In fact, that’s where music comes from”, showing us that there is no music without love and this entire record is a love language in and of itself.

Listening to this record of 23 tracks for the first time, I must admit I was genuinely moved to tears at the sheer convergence of artistry and passion on it. The cause that the proceeds from the album are supporting is a great and dire one. It is admirable that all these artists have agreed to lend their platforms to this, but I think the most important takeaway is that we should all be inspired to act too. This world belongs to us all and who would we be to not aid our own people in their time of need? HELP(2) serves as a reminder that music, community, love, and humanity can all be synonymous if we each open up our hearts and ears, exercising even the smallest amount of empathy.

'HELP(2)' was released March 6th, 2026 on War Child Records