Grandmas House

Like the ominous skies before a storm, Bristol-based foursome Grandmas House's debut,
Baby You're A Winner, captures both the light and dark of human connection through riotous rock anthems, whipsmart storytelling, and moments of startling tenderness.
As the interlocking guitar and choral harmonies of title track ‘Baby You’re A Winner’ swirl
into your subconscious, you might be expecting an easy introduction from Grandmas House. But this Bristol-based foursome’s foundations are built on dancing the fine line between dark and light. This mission is deadly apparent from the moment Zoë Zinsmeister’s rumbling basslines kick in. The band’s debut is heavy with opposing elements: melodic and abrasive, intimate and chaotic, carefully composed yet riotously riveting.

And that’s no truer than in their standout vocal delivery. Guitarist Yasmin Berndt’s signature
snarl cuts through the UK’s current post-punk landscape (but, if pushed, recalls the
unpolished growl of Fontaines DC’s Grian Chatten). Drummer Poppy Dodgson adds a
striking second lead vocal presence, while bassist Zoë Zinsmeister brings a third layer to the group’s often sinister harmonies.

Band founders Berndt and Dodgson met at university, bonding over left-field indie acts like
Shame and Goat Girl. But it was another foursome who encouraged them to pick up their
own instruments. “Seeing The Big Moon live before we’d played any shows inspired us so
much,” recalls Dodgson. Relocating to Bristol, the pair moved in together and recruited
Zinsmeister on bass and, later, Polly Jessett on lead guitar. The catalyst to perform came
from the heart of the welcoming, creative community, though. “We told the guy who owns
The Thunderbolt we were writing songs, and he was like, ‘Right, you’ve got a set!’” laughs
Dodgson. “Without that push, I don’t know if we would have been brave enough.”
After a handful of EP releases and time testing new material out on the road, Grandmas
House headed into the studio to lay down their debut with producer Ali Chant (PJ Harvey,
Yard Act, Perfume Genius) to translate the intensity of the band’s live shows into something
more expansive. “Our music is hard to capture on recordings as it's got so much energy,”
says Berndt. “Sometimes we'd be like, 'This is a lot more powerful live. How can we make it
as powerful?’”

That power exists in Grandmas House’s ability to handle life’s big moments with tendernessamongst the rollicking riffs. Echoing Big Thief’s knack for vivid storytelling, the band's debut paints a keen portrait of love, grief, and the bittersweet balance between sadness and catharsis, as Dodgson explains. “We wrote this album about the existential crisis of going through life. It’s about love and infatuation, but also about grief and loneliness. It’s emotional, powerful, and a good time all at once.”