Crawlers Creep Across the Atlantic and Into Our Hearts With Acerbic Alt-Rock Romance

Until this week, UK alt-rock outfit Crawlers had been riding a delicious wave of momentum on a high-profile US tour, opening for Love and Rockets and Jane’s Addiction. While already well-known in the UK, Crawlers are still carving out their place on this side of the Atlantic. This tour was a golden opportunity to infuse the scene with fresh energy from a younger generation, and the band gave ‘carpe diem’ a whole new meaning.

Throughout the tour, Crawlers lit up every stage they stepped on, rapidly amassing enthusiastic new fans with each performance. Audiences were captivated by the electrifying stage presence of lead singer Holly Minto, the fiery riffs of guitarist Amy Woodhall, the steady grooves of bassist Liv May, and the rhythmic force of drummer Harry Breen. 

Their sound, a potent mix of aggressive riffs, melodic hooks, and introspective lyrics, draws immediate comparisons to Pixies, PJ Harvey, Yeah Yeah Yeahs, and the fierce spirit of Riot Grrrl acts. While echoing their impact, Crawlers are firmly rooted in their generation’s pulse, with powerful, socially-conscious lyrics tackling issues like mental health, toxic relationships, and gender identity. Their sound channels the raw energy of The Breeders, PJ Harvey, and Bikini Kill while drawing favourable comparisons to Wolf Alice and Royal Blood—striking a perfect balance between nostalgia and new blood.

Crawlers released their self-titled debut EP in 2021 to critical acclaim, praised for its dynamic range and the stunning vocal delivery of lead singer Holly Minto. Their breakout single Come Over (Again) became a viral sensation on TikTok, thrusting the band further into the limelight and securing them a deal with Polydor Records.

On September 9, Crawlers took the stage at an intimate NYC performance at Mercury Lounge in the Lower East Side, with Minto commanding the room in an oversized suit, exuding a stage presence every bit as magnetic and intense as Pulp’s Jarvis Cocker. The emotional energy in the venue was palpable, as tears streamed down countless faces while Minto fiercely delivered their blistering anthems. F*** Me (I Didn’t Know How To Say)—a raw and powerful song addressing the aftermath of sexual assault—hit with gut-wrenching intensity, followed by the pure Alanis-esque fury of Come Over (Again), complete with the jaw-dropping chorus that has become the TikTok anthem of a generation.

Take her name out of your mouth

You don’t deserve to mourn

You just love the attention

Or do you get bored?

Backstage, the band buzzed with excitement—giddy, playful, and genuinely thrilled to be playing in New York. Minto eagerly recounted their adventures in the Big Apple, while the rest of the group chimed in with cheeky humor and affectionate banter. Their openness to trying “anything fun” during a rushed photoshoot in a cramped cellar green room showed that their infectious onstage energy was delightfully authentic and grounded.

Crawlers’ performance was one for the ages—the kind of gritty, electric live show that fuels the legends of CBGB and Mudd Club. As the euphoric crowd spilled out into the night, a chorus of excited chatter echoed from the Mercury Lounge to Chrystie Street—six solid blocks of fans reliving the night’s magic. It was a remarkable feat: one of those rare moments when a band’s energy left a lasting hum in Manhattan’s heart.

The next night at Pier 17, Crawlers found themselves on a bigger, brasher stage, facing a crowd cut from a different cloth—jaded Gen Xers. The space wasn’t as crammed like the night before, nor was the crowd leaning in close, but that didn’t faze Crawlers. They came out swinging, amplifying their energy to fill the vast expanse, guitars grinding and drums pounding like a freight train barreling down the tracks. Holly Minto was a dynamo, leaping and lunging across the platform, howling with a feral intensity that channeled their inner Iggy Pop, wailing out the words like they were ripped from their soul.

It was a sight to behold—this young band with something to say, a raw spirit in their veins, taking the stage by storm with unyielding exuberance. The photographers in the pit, many new to their sound, clambered over each other, frantically snapping away, trying to bottle the crackles of lightning coursing through the air. Minto moved like a panther on the prowl, eyes sharp, body coiled and ready to strike. The crowd, once distant, began to lean in, drawn by the undeniable energy of a band ready to carve out a new horizon.

After an equally thrilling second act on 11 September, everything came to a crashing halt three days later in Beantown. 

Much has already been said about Perry Farrell’s troubling condition and the altercation he sparked with Dave Navarro, which led to the cancellation of the Connecticut gig and, after 48 hours of intense turmoil, the rest of the tour.

However, the collateral damage of this sudden end remains largely overlooked: the loss of hundreds of crew jobs, the revenue losses for canceled venues, and the profound disappointment felt by all three bands. The blow was especially hard for Crawlers, who took to Instagram on 16 September with a heartbreaking announcement— without the support from Love and Rockets and Jane’s Addiction, they no longer had the financial means to continue touring the smaller American venues like Mercury Lounge.

In a particularly ironic twist, the stunning debut album that Crawlers were promoting on this tour has the prescient title of The Mess We Seem To Make.

While this particular incident left no other choice for the other three members of Jane’s Addiction to call things off, ending tours abruptly wield a particularly harsh blow for foreign acts and their crews, who must navigate visa clearances, transportation logistics, high costs, and the everyday challenges of a long journey on another continent. For Crawlers, a band radiating such a unique, fresh energy, it feels especially unfair to have the rug pulled out from under them, putting the band’s US momentum on temporary hold.

The good news is, all four members of Crawlers are optimistic and bursting with ideas. They’ll be just fine- more than fine, they will make a triumphant return to American stages as the phoenixes that rise proudly from the ashes, a blaze of rainbows in their wake.

Hell, they’re just getting started.

Listen to The Mess We Seem To Make below, out now via Polydor Records.

Crawlers were kind enough to talk with Post-Punk.com about their creative process, how social media has played a role in their trajectory, what motivates their creativity, and what they’d like to try next as a band, looking ahead.

Your debut single, “Come Over (Again),” has been a standout hit – this is the song most people here would know. How did the song come together, and what was the inspiration behind its emotional and atmospheric qualities?