Chloe Slater on 'War Crimes', connecting with her audience and getting back out on tour
Chloe Slater is one of the UK's most exciting rising indie artists right now, and coming straight off the back of an extremely busy 2025 - which saw her embark on her 'Choose A Life' tour in collaboration with War Child, support Alessi Rose and Role Model, play at Glastonbury and release her 'Love Me Please' EP as well as singles 'Harriet' and 'War Crimes' - she's making serious headway for an even more successful 2026, beginning with a headline tour of intimate acoustic shows in seaside towns across the UK.
Just ahead of Chloe's 'Southern Youth' UK tour, I had a chat with her about 'War Crimes', working with her heroes and connecting with her audience through her lyrics.
A – Can you tell us a little bit about 'War Crimes'?
C – Yeah! I wrote 'War Crimes' quite a long time ago now, when Kier Starmer had just been elected into government, and I'd spent a really long time hoping for a Labour government – I was a big Jeremy Corbyn fan back in the day – so I had a lot of hopes for a new left wing government after a really long Tory reign. I think there was a really optimistic feeling in Britian that was quickly dampened by Keir Starmer's Labour. Obviously, there was a clear genocide going on – and still is going on – in Gaza being broadcast across the media, and watching our government aid and abet it and do nothing to try and stop it while so many people like me wanted something to happen felt like a real betrayal from what once was the more socialist party; the party for the working-class people turning against those people. It's a cheery subject!
A – You've said that it's the first real 'protest song' you've ever written, was the writing and creation process different in any way because of that?
C – The thing is I've always written angry songs, sometimes with a political streak, but I think this is the first time I've written a song about such a contentious and relevant topic and brought it out while that's all still going on. A lot of responsibility comes along with that - so it definitely had to be more considered. But the writing process wasn't different to any of my other music, I was just writing what I felt at the time.
A – Was there any particular artists or albums that really influenced the song?
C – Not super specific, but I've always really enjoyed songs that speak about political subjects – I love Declan Mckenna and the song British Bombs, that was definitely a bit of an inspiration, like for the line 'Great British taxes funding war crimes'. I love Sam Fender as well; he's one of my number ones – I love that guy so much. I also had a Bob Dylan phase when I was a teenager, especially.
A – I was going to say that especially in the punchiness of the lyrics, they really reminded me of that 1960s protest music.
C – Yeah, like a 'Masters of War' kind of thing. I'm not going to claim to be anywhere near Bob Dylan in terms of lyrical genius but was definitely an inspiration.
A – Speaking of lyrics, your lyrics are very relatable to young people and what we're experiencing today in society - when you play these songs live can you feel that connection and understanding from the audience? Especially after touring with Role Model, who has such a large young fan base – particularly a young female fanbase.
C – Yeah! It's amazing. Last year I went on tour with Alessi Rose and Role Model – those are both the big support tours that I did – and they both have mainly young female audiences. I think before my music was going out more to Radio 6 dads, which is great and I love them, but I wanted to be in those rooms playing to people who looked like me and felt the same way as me. It's been really amazing to see so many people resonating because young girls do care about these sorts of things and especially to see it coming from someone who looks like them... I can definitely feel a connection.
A – Is it different when you're playing a festival? Is that feeling of connection different?
C – With a festival or support gig it feels like you're trying to win the crowd over, which is something that I really enjoy. Sometimes I feel a bit weird at my own shows because I've spent so long doing supports and festivals that the feeling of 'oh everyone's here to see me' is kind of strange and I find it hard to wrap my head around. I like festivals more sometimes because you can slowly watch someone's arms unfold, or someone start to smile halfway through the set, and you know that they're becoming a fan. That's really nice to see.
A – It must be really rewarding.
C – Yeah, and if no one's reacting you play harder until somebody does.
A – One festival you played last year was Glastonbury, the Left Field stage specifically, alongside so many other performers who are also overtly political and using their platforms to discuss the same issues as you. Is coming up in a musical climate where this anger and political discussion is so prominent exciting?
C – At Glastonbury it's amazing to be playing that stage with people like Kate Nash who's doing a lot of great things at the moment, and obviously the stage is ran by Billy Bragg - I got to meet him and he's an incredible man. It was an honour to be considered to play amongst those kinds of people. It is exciting and I'm glad there's a space for my kind of music.
A – When I was doing my research you were described as a 'voice of your generation' is that an affirming label, is it scary?
C - [laughs] Obviously I don't think that, but if someone wants to say that it's ok. I always will be honest in my music. I speak from the perspective of a 22-year-old woman who isn't a nepo baby or a mega-rich person, which is most people in their 20s, so there will be a lot of common ground with other people in my music. But I wouldn't look to me for political guidance. I think people should go out and do their own research and listen to lots of voices. But I'm definitely honoured that people say that.
A - You're going on tour! Very soon!
C – Yeah, I am!
A – What are you most looking forward to about being on the road again – on your own headline tour as well.
C – I can't wait. It's my first ever acoustic tour and my first ever seaside tour, I'm from Bournemouth so I'm doing my first ever hometown show and it sold out in like 2 minutes which is crazy. I really wasn't expecting that to happen so it's an amazing feeling. I'm really excited to go and see the seaside towns because growing up in a seaside town you always have to travel to cities to go and see gigs and live music – you feel so out of the scene. I want to bring the scene to those places for one night.
A – Along with 'War Crimes' obviously, is there any new music people can expect to hear for the first time?
C - I've been working hard on my next project. All will become clear soon is all I can say.
A – Finally, since we're a university radio station I always like to ask if there are any artists that really remind you of that time in your life?
C – I went to uni in Manchester, so lots of indie music. I was loving Lizzy McAlpine a lot at that time. Her '5 Seconds Flat' album came out when I was in first year and I was heartbroken over this guy and that album really got me through. Also, 'This Is Really Going To Hurt' by Flyte is a great album. During my teenage years I was really like rock! Wolf Alice! Arctic Monkeys! That kind of thing – which I was still listening to and still listen to now. But I found my love for more poppy, folky music when I first went to uni. I was going through something, clearly!
A – Speaking of Wolf Alice actually, you've said that they're one of your favourite bands of all time. Which really resonated with me because they're also my favourite band of all time.
C – Good choice!
A – You recently wrote with Joel [Amey], and I can't imagine how crazy that must've been.
C – Oh my gosh, yes. It was crazy. We only did one session together – it was a while ago now, I think it was about a year ago – but I was playing it cool. I'm a massive fan; their music has done so much for me.
Tickets for Chloe Slater's 'Southern Youth' UK seaside tour are on sale now!