The incendiary duo from Brighton announces *No Refunds*, their second album following the success of *Who Let The Dogs Out*. “Bang Bang Bang” ushers in a new, darker, more industrial, and fiercer era for a band that has turned anger, humor, and social criticism into one of the most stimulating voices in British punk today.
The world has gotten worse.
We’re not the ones saying that.
That’s what the Lambrini Girls say.
And his response wasn’t to write an album to reassure us.
It just made it even more awkward.
It’s called No Refunds.
It will be released on January 15, 2027, via City Slang, will feature eleven songs, and will be the second album by Phoebe Lunny and Selin Macieira-Boşgelmez, just two years after *Who Let The Dogs Out* turned them into one of the most exciting phenomena in the new British punk scene.
The first warning had come with “Cult of Celebrity.”
Now we have another one.
It’s called:
“Bang Bang Bang.”
And it makes exactly the noise it promises.
First, listen to “Bang Bang Bang”
Two minutes and twenty-two seconds.
They don’t need much more than that.
“Bang Bang Bang” starts off as a restrained burst of energy and ends up practically setting the room on fire.
Low-angle shot.
Aggressive guitars.
Percussion.
Distortion.
An album that begins to lean toward industrial punk without losing the raw energy that made Lambrini Girls such a hard-to-ignore band.
The video, directed by Harv Frost, doesn’t offer much breathing room either.
A dark room.
Flashes of light.
Movement.
Glasses that end up shattered.
Chaos.
The feeling of watching something that could spiral out of control at any moment.
And then there’s Phoebe Lunny.
According to the singer herself, the song tells the story of a man who has been revered both as an almost messianic figure and as the devil himself. Pitchfork includes that description in its preview of the new album.
They don’t explain much more than that.
It probably isn’t necessary either.
If you haven’t heard of Lambrini Girls yet, now’s the time
Lambrini Girls were formed in Brighton and are currently a duo consisting of:
Phoebe Lunny — vocals and guitar.
Selin Macieira-Boşgelmez — bass.
Their sound draws on elements of riot grrrl, punk, noise, grunge, and post-punk, with influences they themselves have cited ranging from Bikini Kill and Le Tigre to Savages.
But to dismiss them as “just another punk band from Brighton” would be to miss out on practically the entire story.
Because the Lambrini Girls realized something fundamental very early on:
Anger works much better when you also know how to make people laugh.
His songs may address misogyny, homophobia, transphobia, violence, power, or inequality.
But there’s always one phrase that pops up in the middle.
A provocation.
An awkward joke.
That’s outrageous.
And then they hit you again.
“Who Let The Dogs Out ” Turned Noise Into a Hit
Their first album was released on January 10, 2025.
Title:
Who Let the Dogs Out.
The album turned everything the Lambrini Girls had built on small stages into something much bigger.
And something happened that doesn’t always happen with the most abrasive punk:
made the list.
The album reached No. 16 on the Official UK Albums Chart.
But it also reached No. 1 on the UK Rock & Metal chart, No. 2 on the independent albums chart, and No. 3 on the Scottish sales chart.
It wasn’t just hype surrounding an up-and-coming band.
There was an audience.
A lot.
And then the acceleration began.
From Small Clubs to Glastonbury
Tours.
Festivals.
Interviews.
More concerts.
More airports.
More kilometers.
Glastonbury.
Reading & Leeds.
Roskilde.
Rock Werchter.
Riot Fest.
Primavera Sound.
Next up would be Bonnaroo, Pukkelpop, Lowlands, Rock en Seine, Øya, Way Out West, and Flow.
Their London concerts gradually expanded from Scala to Electric Brixton and then to the Kentish Town Forum.
The November 2025 tour of the United Kingdom was sold out.
The underground punk scene was beginning to take on a considerably larger scale.
And then my body said, “Enough.”
Success almost broke them
This is probably the most important part for understanding ” No Refunds.”
Because a second album isn’t just the result of success.
It comes after the price they paid for it.
Selin Macieira-Boşgelmez temporarily stepped away from touring in late 2025 after a period of extreme exhaustion. The musician herself has spoken publicly about a manic episode related to her bipolar disorder.
Meanwhile, Phoebe Lunny suffered a brain injury during the group’s first Australian tour and continued to perform for part of that time.
These are health issues that they themselves have made public and that help explain the context of the album, but they don’t need to be turned into a spectacle.
What’s important is what happened next.
They stopped.
They recovered.
And they went back to writing.
But they weren’t exactly the same people who had recorded the first album anymore.
No Refunds: No refunds
The title is wonderful.
No Refunds.
No refunds.
You can’t return it.
You can’t change the world just because you don’t like the one you’ve been given.
And Lambrini Girls doesn’t seem interested in offering a comfortable version of it either.
The label itself describes the album as a darker and more urgent work, written for a planet that, in the duo’s words, “has gotten even worse.”
The topics?
This is where it gets interesting.
Artificial Intelligence, Fascism, Abortion, Gaza, and the Manosphere
Lambrini Girls hasn’t exactly chosen minor issues.
No Refunds addresses artificial intelligence, fascism, violence, reproductive rights, celebrity culture, and the rise of the so-called ” manosphere,” as well as contemporary political conflicts and violence.
But musically, there’s also a change.
Industrial punk.
Angular lower legs.
Almost pop moments.
Noise.
And something that might be even more surprising:
vulnerability.
Because after everything that’s happened over the past two years, an album built entirely around screaming at the world probably would have told only half the story.
The track list says a lot on its own
You don’t have to listen to all eleven songs just yet to understand what they’re getting at.
No Refunds will include:
- Truth to Power
- Cult of Celebrity
- White Man’s World
- Spilt
- A Delicious Chinese Meal
- Bang Bang Bang
- Don’t Talk to Me Until I’ve Had My Abortion
- Gaza Beach
- The Basement
- Wake Up!
- Is This AI?
This is the official tracklist released by the band.
Just by reading it, we already have practically a map of 2026.
Power.
Celebrity.
Masculinity.
Reproductive rights.
Gaza.
Artificial intelligence.
Internet.
And probably a pretty mean streak.
“Cult of Celebrity” had already given the first clue
Before “Bang Bang Bang,” there was:
“Cult of Celebrity.”
And the contradiction was deliberate.
A song that challenges our obsession with turning people into cultural products, presented through one of the most immediate and accessible tracks the Lambrini Girls had recorded up to that point.
That tension seems essential to understanding the new album.
Lambrini Girls wants to expand its sound.
But don’t tone down the rhetoric.
There may be a melody.
There may be some pop-inspired elements.
There might be some humor.
But underneath it all, the same question remains:
What the heck are we doing?
And then artificial intelligence comes into the picture
There’s a song called:
“Is This AI?”
We don’t know yet exactly what the lyrics will be about, so I wouldn’t jump to any conclusions before listening to them.
But his presence is inevitably intriguing.
Because punk has always rebelled against what it perceives as power structures, homogenization, or loss of identity.
In 1977, it could have been the music industry.
In 2027, it could also be an algorithm.
The mere fact that AI and punk now share an album’s tracklist says a lot about how much the world—the very world that the genre seeks to challenge—has changed.
Can punk still be dangerous in 2026?
This is the question I find most interesting about the Lambrini Girls.
Punk is now half a century old.
Their symbols are on T-shirts.
His classic albums are sold at major retailers.
The Sex Pistols are featured in documentaries and exhibitions.
The language of rebellion can also become a product.
So how do you pull off punk without ending up looking like you’re dressed up in a 1977 costume?
Lambrini Girls seems to have found a fairly simple answer:
talking about 2026.
Don’t try to recreate the problems of fifty years ago.
Talking about our own people.
Algorithms.
Manosphere.
AI.
Reproductive rights.
War.
Celebrity.
Internet.
Exhaustion.
Mental health.
Polarization.
That makes *No Refunds* potentially much more interesting than just an exercise in punk nostalgia.
Kathleen Hanna understands perfectly what they’re doing
There is also a beautiful symbolic connection.
Kathleen Hanna, a key figure in Bikini Kill and the riot grrrl movement, has publicly expressed her admiration for Lambrini Girls.
Iggy Pop and Sleater-Kinney have done the same.
And the duo has shared the stage with bands like IDLES and Amyl and the Sniffers.
It’s almost a generational divide.
Iggy.
Bikini Kill.
Sleater-Kinney.
IDLES.
Amyl and the Sniffers.
Lambrini Girls.
Not because all those bands sound the same.
But rather because they share a much more important idea:
A rock concert can still be an uncomfortable place.
“Bang Bang Bang” doesn’t want you to like it
And perhaps that is its greatest strength.
There are songs meant to be listened to while you’re doing something else.
“Bang Bang Bang” seems designed to prevent that.
Come in.
Hit it.
It makes noise.
It provokes.
And it disappears in 2 minutes and 22 seconds.
It doesn’t need much more than that.
Because ” No Refunds ” is still pending.
Lambrini Girls are back just when they’re at their most uncomfortable
Their debut album proved that a band could turn anger, dark humor, and abrasive guitars into an unexpected Top 20 hit in the UK.
Then came the festivals.
The tours.
Airports.
Burnout.
Injuries.
And finally, the need to rebuild oneself.
They’re coming back now.
But not to repeat ” Who Let the Dogs Out.”
They’re back with a darker album.
More industrial.
More vulnerable.
And apparently quite a bit angrier.
It’s called No Refunds.
January 15, 2027, is coming.
And if Lambrini Girls is right and the world really has gotten worse…
It seems they’ve decided to do the exact opposite of turning down the volume.
Bang.
Bang.
Bang.
