War Child’s HELP(2) is finally here – and it’s one worth sitting with.
After months of anticipation, HELP(2) arrived on Friday, bringing together an extraordinary lineup of artists in support of the War Child charity. Over the weekend, I’ve had the chance to properly delve into the project – to sit with it, take it in, and understand what makes this album feel so special.
30 years after the original Help album brought together some of the defining voices of the Britpop era, HELP(2) captures that same spirit for a new generation. Recorded at Abbey Road Studios and produced by James Ford, the album gathers an eclectic mix of artists, each contributing something unique to the project.
Rather than feeling like a tightly structured compilation, HELP(2) is unpredictable, but in a way that still feels cohesive and beautiful. It moves between genres, moods and ideas, with each artist approaching the project from their own perspective.
One of the real standouts comes from Wet Leg with “Obvious.” Known for their sharp, playful indie sound, the track reveals a completely different side of the band. It’s soft, intimate and surprisingly delicate, a moment that feels almost understated compared to some of their previous work. The song had reportedly existed for a while, having been played live before nearly making it onto their debut album, but here it finally finds its place.
Pulp’s “Begging for Change” is another highlight. Hearing Jarvis Cocker back delivering something new feels special in itself, and the track carries the same wit that has always defined Pulp’s songwriting. It sits comfortably within the project while still feeling unmistakably theirs, adding another memorable moment.
Across the album, several artists also take on cover songs, and these moments end up being some of the most powerful on the record. Olivia Rodrigo’s cover of “The Book of Love” closes the album on an emotional note, while Beth Gibbons, Beck, Beabadoobee and Depeche Mode also bring their own interpretations into the mix, transforming familiar songs into something entirely new.
One of the most striking covers comes from Fontaines D.C. with their take on Sinéad O’Connor’s “Black Boys on Mopeds.” Rather than simply recreating the original, the band reshapes it into something that feels completely their own. The production feels rich and atmospheric, leaning into the darker tone that has become such a defining part of their sound, while still respecting the power of the original. It’s the kind of cover that manages to feel both familiar and completely new at once.
Another moment that really stands out comes from Cameron Winter, whose contribution is easily one of the most unsettling tracks on the album. It’s dark, eerie and almost ominous in places – the kind of song that stops you in your tracks. There’s something about it that feels bleak but incredibly powerful at the same time, carrying a real sense of tension and anger. It’s not an easy listen, but that’s exactly what makes it so special. On a compilation centred around the realities of conflict and humanitarian crisis, the track feels strangely fitting; unsettling, emotional, and impossible to ignore.
Listen to the album here:
In the end, HELP(2) feels like a collection of beautiful moments from some incredible artists. Each track is worth listening to in its own way, and knowing it all supports such an important cause makes the album feel even more special.
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