Fifteen Minutes of Fame Music Entertainment

Originally Published on November 12th, 2025

About the Artist

I have always wanted to go to Scotland. That is where my family is from. I have very deep ties to the country. Hell, I may even have relatives there. Aside from that, though, I think the countryside is absolutely beautiful. There is some incredible historic architecture. The culture looks like it would be awesome to witness.

And now, I have another reason.

One of the newest rock sensations to emerge onto the scene are the all girl, 4-piece rock ensemble, The Marches. They are lead singer and guitar player, Katie Palmer, bass player, Nicola Singleton, lead guitar player, Jane Jenkins, and drummer, Kate Morrow.

Debuting in 2024, their first release, In Comes the Fear, is an upbeat pop-infused alt rock song with bright guitars, bright vocals, and locked bass and drums. The thing I love about this piece is how it nods to different genres and eras but doesn’t commit to them. Instead, The Marches claim the sound all for themselves. There are influences of Blues that sound like early Sheryl Crow. Palmer has a light and smooth vocal delivery that could be compared to Natalie Imbruglia. The bass guitar has a 90’s alt pop hit to it.

The Marches followed In Comes the Fear with the more progressive Talking Too Much. This song redirects influence to a more classic and heavy rock sound, though still very much alt rock/alt pop. Heavier guitars, thicker backing vocals, bigger drums. I love the cadence of the vocals on the chorus. With their second release, the diversity of their songwriting really paints a bigger picture as to what the identity of this band is.

2025 has seen two more releases with Come Back Around and Feel it All. These releases have further signified that this a dynamically capable band. They can find a subtle groove and they can also blow the lid off of some venues. I love how they do this but these varying releases still harness the same identity. A big reason for this is Palmer’s ability to anchor who they are with her vocal delivery.

As The Marches continue to build their catalog, they’ve also made an identity for themselves as an entertaining live act. Playing a sold out show at SWG3 The Poetry Club, they can next be seen on December 6th, in Glasgow, at the venue Nice and Sleazy’s.

About the Music

Double A Side is the first multi-track release by the Scottish-based independent rock band, The Marches. This double-side single, features two songs; November, which releases on November 14th and Don’t Fool Me Twice, which releases on November 28th. In addition to digital release, it will be available on a limited edition vinyl November 28th. It has a run time of around 7 minutes and 15 seconds.

The most significant thing I can say about these tracks is the growth of the sound and the bigger production value. The sound is so much more directly present. There is more layering being incorporated in both the vocal and instrumental performances. These two tracks sound like they are being performed right in front of me.

There also more intensity to the compositions. Their prior releases are definitely to be considered alt rock, but The Marches have upped the ante with this EP.

“November is the closing chapter of a story The Marches have been telling- a raw, reflective track that captures the push and pull of a relationship teetering between harmony and dissonance.” ~ Press Release

November has a very strong and notable guitar presence that is reminiscent of older classic rock sounds. Most evident is probably Bryan Adams’ Summer Of ‘69. Katie Palmer’s vocals really do their job in creating that separation from the distinction though. She has such a silky tone to her voice.

November is the most locked-in The Marches have sounded as a band. The dynamic between Singleton and Morrow is so pocket, it allows Jenkins to transition from progression to lead fluidly. The instrumentals are clean, crisp, and have a brightness to them that gives the song color without being too harsh. This song is a clinic on how a band should operate; as one unit. Four individual instrumentalists in complete sync with one another.

Don’t Fool Me Twice has a little bit more grit to it. Where November gives us this brighter pop look, Don’t Fool Me Twice is a top of the hat to more of a grunge-era. I can hear Hole, Garbage, and Blind Melon.

Kate Morrow sounds possessed on the drum throne in this song. She is in total control as she hammers out tempo and dynamic. The rest of the band falls right in line with the flow. I can almost see the 90’s kids “head-banging” in the mosh pit. And if there is a song in The Marches catalog to head-bang to, it is definitely this one. Nicola Singleton’s bass part is so gritty and dirty in places but it additionally lays this wide foundation for the progression to do what it wants to do. And I just want to say this. Jane Jenkins plays the shit out of her guitar. There is no fucking around in this song. At around the 2 minute, 15 second mark, the band do a closing breakdown that progresses into this insane build. Everybody has a role and they all do their part.

Of course, it wouldn’t be what it is without Katie Palmer’s vocal work once again. Still with the silk in her throat, she gives us a different feel as she emboldens her performance with a personality that matches the grunge sound of the song. It’s as if she is teasing the audience with the pitch in places. She’s never off key. But she passively performs like she’s not worried about pitch control. Like she could land just beneath the note she’s trying to hit, but never does. Kurt Cobain did this prodigiously. Katie Palmer did a damn good job of it.

Final Thoughts

The Marches have a shot. They are absolutely what I like to call “radio ready.” That basically means that they are past the developmental stage of writing and production. We could hear their music on the radio and it would not sound out of place.

Without having seen them play a show, I presume they have great stage presence, as they’re selling out shows. And, I always hate remarking on this because it doesn’t really matter about the music and I try to avoid coming off as a creepy old man at all costs-because I’m not a creepy old man, just an old one (maybe a little bit of a dork). But The Marches are a band comprised of 4 very beautiful women. I only mention this because, as I am sure they are aware, image can be a powerful asset when trying to market one’s self. I don’t think I would benefit from slapping up a poster with my face on it to promote my act. I think The Marches would, but again they (along with their management, One Roof Music Management) probably already know this.

I am much more comfortable with talking about the music. The Marches biggest selling point is just that. They are very strong musicians. Independently, they all exhibit strengths with their respective instruments, but they work so well together as one band. That’s what people are going to think about when they hear their name. That’s what I think about.

If you’re in the area, be sure to catch The Marches at Nice n Sleazy in Glasgow on December 6th!

For press, media, and booking, reach out to Lauren Townsley-Gray with One Roof Music Management (lauren@oneroofmusicmanagement.com)