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Roisin Teeling

Anti-Camera's Hotel, in The Cold Magazine

Everyone’s Passing Through Anti-Camera’s Hotel

August 25, 2026

It’s ten in the morning at a studio in New York and there’s been absolutely no sleep. Anti-Camera is freestyling into a mic when four words come out of her: I love hotel. She doesn’t think much of it at first. In fact, it sits in a folder for months, waiting in line behind a title he’d already half-committed to – Leader – before he scraps that one too. He’d started picturing it as something closer to a cult leader than a bandleader, and that wasn’t the relationship to an

Sachiko Nakahara on Death Note the Musical, in The Cold Magazine

Sachiko Nakahara on Building Gods of Death from Ink, Paper and Dirt for Death Note the Musical

August 24, 2026

The manga and anime series Death Note has been turned into clothing many times. XLARGE ran a collaboration in 2022 with the characters across tees, sweatshirts and jackets. Palace followed in February 2025 with a capsule of around forty pieces, among them stonewashed denim carrying Ryuk in a watercolour print and the skate logo redrawn in the manga’s own typeface. Sachiko Nakahara has gone the other way. As costume designer on the Barbican’s new staging of Death Note The Musical, her job was not to print the characters onto clothes

Death Note at the Barbican, reviewed by The Cold Magazine

The Barbican’s Death Note Knows Exactly How to Play God

August 24, 2026

Write a name, picture the face, and forty seconds later they are dead. The Barbican production of Death Note has all of that out in the open straight away. Sound comes at you from every side of the room, a school student is singing about how many criminals walk free while his ethics teacher tells him off, and I hadn’t even got comfortable in my seat yet. I never did get comfortable, in the seat or otherwise, and I loved the production for it. I was still turning the thing

YAZ, interviewed by The Cold Magazine

YAZ Built Her Sound in a Bedroom. Now She’s Taking It Everywhere

July 6, 2026

The comfort of a bedroom is something you can’t quite replicate. The companionship of clothes scattered across the floor that you said you’d move yesterday and still haven’t, or the playlists you’d never put on shuffle in the company of others. It’s the place where many can be honest with themselves. Dance badly, cry over things that aren’t that deep, and write thoughts down in the dark that always read differently by morning.  YAZ is North-West London’s singer-songwriter in ascent, whose sophomore EP out via EMPIRE, Dancing in My Room,

Tsatsamis, interviewed by The Cold Magazine

Tsatsamis: ‘Gays Are Bitchy And We Love It’

May 31, 2026

Mirror, mirror. It’s the question every fairy tale gets wrong. The one the wicked queen asks isn’t really about being the fairest, it’s about being seen as the fairest. Peter Tsatsamis-Cooper has spent the last year writing a mixtape about a version of that question. Tsycophant came out in April, and is a record about wanting to be wanted, by the cooler group at the party, by the boy who doesn’t care, by the friends-of-friends whose approval shouldn’t matter and does.  It’s a Wednesday morning and Tsatsamis, who drops the

Babydoll Deadbeat, interviewed by The Cold Magazine — portrait 1

Exclusive: Inside Die Twice’s New Music Video Jalapeño

May 28, 2026

Nobody plans to meet their future music video director on the tube at midnight with a guitar case in their face. But that’s how Die Twice met Milo Hume, the director behind Geese‘s Au Pays du Cocaine, and Cold has the exclusive first look at what came out of it. “They had all these amps and cases and shit falling all over the place,” he says. “It was a total mess.” They got talking, and Hume was invited down to Brighton for the next one. “Me and some friends go

Maryze, interviewed by The Cold Magazine

Maryze Is Done With Hollywood’s Expiry Date for Women

April 28, 2026

When Maryze moved to Hollywood from Montreal, she was told to lie about her age. Which meant an Instagram post celebrating her 34th birthday was seen as controversial: “We’re all on different timelines ~ Call me a late bloomer, but it took me till my 30s to follow my dreams full throttle. And now they’re coming true?? Blessed this birthday & so much ahead.” It was the kind of birthday post you might make without a second thought. Friends messaged to tell her she was brave, which still makes her

Lead actors Preston Nyman and Eva Feiler standing back-to-back in period costumes, symbolizing the long-distance connection in Dear Jack, Dear Louise.

‘Dear Jack, Dear Louise’ Is the Best Date You’ll Never Go On

April 27, 2026

The Arcola’s wartime romance is for anyone who has ever left someone on read Is the perfect relationship having someone you can’t wait to run and tell things to? Someone whose whole world you know, the side characters, the running jokes, the small decisions they agonise over, because they’ve shared it all with you. Ken Ludwig’s Dear Jack, Dear Louise at the Arcola Theatre asks whether that intimacy even needs two people in the same room to exist. Sitting in the Arcola as crackly wartime radio filled the air, I

A creative shot of Grace Ives seen through a keyhole-like frame, showing her reflection in a bathroom mirror while she applies makeup.

Grace Ives on Losing Yourself and Dancing Anyway

March 27, 2026

Labels make Grace Ives uneasy. “I’m a writer,” she says, and then immediately dismantles the certainty of it. “You don’t write one day and suddenly it’s like, fuck. I guess I’m not a writer.” She laughs, recognising the absurdity of it all. The same logic applies everywhere: girlfriend, musician, daughter, artist – roles that are expected to be tied up neatly, like a bow in your hair. Talking to Ives means the conversation can pivot quickly from the mundane to the philosophical. Mid-interview she apologises for boiling eggs – “you

Bitch Boxer on stage, reviewed by The Cold Magazine

Bitch Boxer Comes Out Swinging

March 9, 2026

Hearing the title Bitch Boxer, my first thought was linguistic rather than theatrical – what a satisfying pair of plosives. Bitch. Boxer. Both words land with a punch, which feels appropriate for a play about a boxer. My second thought, perhaps unfairly, was that I had already guessed the show’s angle. The title seemed to promise a familiar contemporary narrative: a reclamation of the word “bitch”, perhaps something about female rage being reframed as power. In other words, I thought I knew what I was walking into. Theatre, of course,

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