War Child Records "HELP(2)" Album Review

"HELP(2)" Promotional Poster in London, UK

War Child is a London-based charity founded in 1993, aiming to raise funds to help support children living in war zones.

The project, War Child Records, was set up in 1995 to increase fundraising with their first collaborative album, “HELP”, which featured artists such as Oasis, Blur, Paul McCartney, and Radiohead.

On 6 March this year, “HELP(2)” was released on streaming platforms, with the same goal: to help children live their lives to the fullest, even when conditions beyond their control affect them every day. 

All proceeds from the streams go to the charity, so whilst we have been enjoying these songs either way – it always feels better knowing it is going towards a good cause.

ELKE SMITS: 

Opening Night - Arctic Monkeys

After a few years of silence from the great British band Arctic Monkeys, the group released the single “Opening Night” for “HELP(2)”. In my interpretation, “Opening Night” captures power imbalances. The song itself is quite minimalistic, but that does not take away the strength the song holds. Personally, I adore how Arctic Monkeys, and any other artist on this record, were enthusiastic to be working on this beautiful charity. 

Read BRUIT.’s review of the single here!

Black Boys on Mopeds - Fontaines D.C.

Fontaines D.C. covered the beautiful protest song “Black Boys on Mopeds” by Sinead O’Connor in honour of the charity’s record. The song criticises police racism and brutality. Fontaines D.C. is knowingly open about their political opinions, and they show this beautifully in this cover once again. Fontaines D.C.’s “Black Boys on Mopeds” is put together ethereally and strangely mirrors the original song. 

ZOË PRISCILLA: 

Flags - Damon Albarn, Grian Chatten, Kae Tempest 

I was stunned to see Damon Albarn and Grian Chatten feature on a song for HELP (2), as I am a fan of both. Two extremely talented individuals paired together to write a beautiful, slow song, joined by Kae Tempest, who really added a great touch to the lyrics of this ballad. The three musicians added onto each other perfectly. The instrument which stood out to me was the piano riff that continued throughout the whole song; it’s quite simple but easily recognisable. “Flags” is an immaculate track considering the concept it’s written for. 

Obvious - Wet Leg

“Obvious” by Wet Leg is the nineteenth track on HELP (2). The song sounds very well produced, and Rhian Teasdale’s vocals sound soft. The lyrics seem more intriguing and sharp; they seem open for interpretation. The melody of the acoustic guitar fits the softness of the vocals; it centralises them. 

SANNE BOERE:

Naboo - Sampha

This is the kind of track that draws you in quietly and then lingers long after it ends. Built around soft piano and airy production, it lets his voice sit front and centre, full of warmth and vulnerability. There’s a gentle, almost weightless quality to the arrangement that gives the song space to breathe, making every lyric feel intimate and reflective. It’s subtle but deeply affecting, a reminder of how powerful Sampha’s stripped-back, emotional approach can be.

Relive, Redie - Big Thief

A song that fits perfectly into Big Thief’s world of hazy folk and emotional immediacy. It feels loose and organic, like it could drift in any direction at any moment, but that’s exactly where its magic lies. Adrianne Lenker’s voice carries the track with a familiar mix of fragility and quiet intensity, pulling you into lyrics that feel both surreal and deeply personal. It’s gentle, slightly strange, and quietly powerful; Big Thief in the best way possible.

Let’s Do It Again! - The Last Dinner Party

The Last Dinner Party leans fully into their theatrical instincts for this one, delivering a track that feels big, bold, and unapologetically dramatic. With sweeping instrumentation and a confident vocal performance, the song has a glamorous indie-rock energy the band does really well. It’s playful and a little decadent, building money as it goes and clearly having fun with the chorus’ spectacle. 

Nothing I Could Hide - Arlo Parks

Arlo Parks keeps things tender and honest. The production is soft and understated, letting her gentle voice and thoughtful lyrics take the spotlight. There’s a sense of openness running through the song; a feeling of trust and vulnerability that Parks captures naturally. The track’s warm, and comforting, almost feeling like a conversation with a close friend.  

Warning - Cameron Winter

The track has a raw, slightly uneasy energy that makes it stand out. Cameron Winter keeps the arrangement minimal, which puts the focus squarely on the mood and the lyrics. The song never explodes into anything huge, instead letting a quiet tension simmer underneath the surface. That restraint gives it a haunting edge, making it feel introspective and even a little mysterious. 

Sunday Light - Anna Calvi, Nilüfer Yanya, Dove Ellis, Ellie Rowsell

“Sunday Light” brings together incredible artists for a collaboration that feels genuinely special. The track moves slowly, building atmosphere through layered guitars and beautifully blended vocals. Each voice adds its own texture, creating a rich, almost communal sound that feels bigger than any single artist. It’s a great example of how powerful a collaboration can be when the chemistry is right. 

DIYA MEHTA: 

Flags - Damon Albarn, Grian Chatten, Kae Tempest 

The unique blend of a children's choir and Grian Chatten's gritty delivery produced a raw, communal spirit that is both enormous and intensely personal. I adore how the song feels like a sincere moment of connection rather than just a collaboration, and how its sense of urgency and hope hits you deep, leaving me feeling incredibly moved.

Universal Soldier - Depeche Mode

Depeche Mode took the legendary 1964 protest song by Buffy Sainte-Marie and turned it into something eerie and more fitting to our modern world. They have leaned toward a concept that can be described as a "controlled dread" with a shadowy beat that feels urgent in place of the typical folk melody. The song's central theme that the "universal soldier" is the result of all of our collective decisions is emphasised by Dave Gahan's voice, giving the anti-war attitude a stark relevance to the current situation of our world, hence standing out to me. 

MAGDA KANECKA: 

Say Yes - Beabadoobee

A cover of a song by one of Bea’s favourite artists, Elliott Smith’s “Say Yes,” showcases her gentle vocal ability incredibly well. At only two and a half minutes in length, the acoustic guitars bring a nostalgic feel to the track, and the track feels like a warm hug you didn’t realise you needed. Bea described on her Instagram how grateful she is to be a part of the project and the ability to put her own spin on her favourite artist’s work.

The Book of Love - Olivia Rodrigo

A topic worth noting is the fact that the music video for this track features footage recorded by children from Gaza, Sudan, Yemen and Ukraine. Watching it brought tears to my eyes, and it is something worth watching even if just for your own awareness. This cover of The Magnetic Field’s 1999 track “The Book of Love” amplifies the difficult experience of growing up during war – something no child should go through. The lyrics of the track can point to a missed and disrupted education for children in warzones, and I have so much respect for Olivia for including their experiences in this project: after all, this mission is for them and about them.

When the War is Finally Done - Foals

An original song by the band, they described on their Instagram that it was originally written in 2019 and is inspired by the ‘trench poets’ of World War I. The song pleads for an end to war, almost wishing to sleep through it and to be woken up once it is over. The outro repeats the line “I’ll be here, I won’t fear for another day”, ending on a hopeful and more optimistic note, wrapped together with equally as emotionally charged vocals.

Strangers - Black Country, New Road

This track reminds me of the band’s 2025 album “Forever Howlong” in its indie-folk execution. I imagine this song would be perfect for a friendly day out or a summer roadtrip. It brings a brighter outlook on what ‘normal’ life may look like when war ceases. Apart from this, “Strangers” is also incredibly catchy, and I am a big fan of the guitars in the bridge and outro! 

Helicopters - Erza Collective, Greentea Peng

The bass at the beginning accompanied with a jazz and afrobeats-type melody. The lyrics call for fighting back against oppressors through lyrics such as “Helicopters / You’re circling the wrong guys”, prompting for acknowledging our privilege as those not living in active warzones. The spoken vocals are a relaxed but equally as powerful mix, later accompanied by electrical keyboard notes towards the outro of the track.

Parasite - English Teacher, Graham Coxton

With lyrics such as “You don’t swing on our moral playground, do you, babe?”, the song “Parasite” rightfully calls out the perpetrators of war in a powerful way. It proves that war achieves nothing, and ruins lives instead – that it is like a parasite. It is, once again, a beautifully crafted message tied together by light drumming and faint guitar strums.

KAY JOSEPH:

Sunday Morning - Beth Gibbons

Beth Gibbons’ rendition of The Velvet Underground’s “Sunday Morning” spins its original psychedelic pop into a sombre reflection on nostalgia, isolation and emotional transitions, tying into the fear of ageing. Her soft, light-as-a-feather vocals drive this experience home, and you can sense a feeling of hopelessness. It’s a beautiful song that captures an every-day struggleat its most vulnerable. 

Lilac Wine - Arooj Aftab

“Lilac Wine” encapsulates finding solace in alcohol, specifically that made from lilac flowers, to forget heartache beautifully and honestly. The voices of Arooj Aftab and Beck work so well together and really bring a new, modern sauce to Eartha Kitt’s original version. 

The 343 Loop - King Krule

With a groovy twinkle to its instrumentals, King Krule brings a beautiful two-minute song to the album. It has kind of an ethereal feeling to it, and resembles the calming nature of lo-fi, which makes this song perfect for activities that require more focus.

Don’t Fight The Young - Young Fathers

Of the songs I got the opportunity to review, “Don’t Fight The Young” is one of my favourites because of the political message it delivers. I’ve always had a soft spot for politically loaded songs, and this one fits right in. With a title that is right on the nose, Young Fathers not only talk about the wars going on in the world, but their song becomes a voice against the far-right in the United States. 

Begging for Change - Pulp

It’s very clear that “Begging for Change” is a Pulp song. Very uptempo and what I would describe as a blend of alternative rock and post-punk, with a message that the title already emphasises: we need change. With the same choir that was featured on “Flags”, they contributed to “HELP(2)” in a way that Pulp has always done: unapologetic and urgent. 

Carried My Girl - Bat For Lashes

Bat For Lashes’ compelling vocals are reserved at the start and build up beautifully throughout the song. It’s exactly what is needed to deliver the emotional punch of the song, in which a mother’s despair to save her daughter is the central focus. 

Listen to “HELP(2)” here!

For ways of aiding War Child Records’ cause, including by purchasing the album, click here.