UK-based charity, War Child Records, has done it again: bringing together the industry’s biggest artists to help instead of hurt during a time of dire crisis. HELP(2), released March 6, is a continuation of War Child’s HELP (1995), brought back 31 years after HELP’s original release.
HELP was originally created to help children during turmoil in Bosnia and Herzegovina, and the charity decided to revamp one of their most successful projects to help children once again, but this time to help those suffering in war zones in places like Gaza, Sudan, Yemen, and Ukraine. Every dollar earned from streaming and purchasing the album will be added to War Child’s efforts to provide education and protect children during the unthinkable.
Produced in Abbey Road’s Studio over the course of a week, magic was created. Artists from all genres and areas of music across the UK and beyond pitched in to create a moment of collaborative bliss to help fundraise for War Child’s initiatives.
A wide range of artists, from Arctic Monkeys to beabadoobee and Pulp, all pitched in to help with these efforts. Many came out of retirement to do so. Even the non-UK-based megastar, Olivia Rodrigo, closed the album off with her heartbreaking rendition of The Magnetic Fields’ “The Book Of Love.”
A look into the Tracklist
The tracklist is organized so wonderfully, with clear moments of highs and lows as well as times of softness, hard rock, and indie folk. This composition is all thanks to James Ford’s clear direction, who can craft a seamless soundtrack from a plethora of varying music styles. Thanks to him, HELP(2) seems coherent and makes War Child appear united as one.
The first half
Arctic Monkeys’ “Opening Night” acts as a perfect album opener. Not only does the song set the tone, but the slow addition of instrumentals from a single note eases listeners into the album while building suspense. I’m personally obsessed with this song and think it captures listeners from the first note with its moody, alternative feel.
“Opening Night” is a tough act to follow, but Damon Albarn, Kae Tempest, and Grian Chatten’s “Flags” uses its star power to create a whirlwind of a song.
Originally, I thought the song was similar to “Heal the World” by Michael Jackson, with its simple keys and chord progression, but then the song turned into rap, and then into rock. It’s something I’ve never seen in music before, but I’m not opposed to it.
We then ease into “Strangers” by Black Country, which was radiating a Fleet Foxes vibe. As someone who loves folk indie pop, this was added to my playlist immediately.
“Let’s Do It Again!” by The Last Dinner Party introduces listeners to alternative rock. This song was very campy to me, and reminded me of my school’s marching band in the best way possible. The crescendo was beautiful and begs listeners to act with urgency on the dire situation, while still keeping the song upbeat and fun.
Moments of softness followed these powerhouse songs with Beth Gibbons’ “Sunday Morning” and Arooj Aftab and Beck’s “Lilac Wine.” There was even an instrumental moment with “The 343 Loop,” which then leads us into Depeche Mode’s comeback with “Universal Soldier.”
As a new wave synth fan, I can say that Depeche Mode really hasn’t lost their touch after all these years, and “Universal Soldier” brings me right back to where they left off in the early ’90s. This song shows me that the band hasn’t lost the art of their craft, and the beat drop has my heart.
“Helicopters” by Ezra Collective brings us back down from that high moment, followed by an R&B jazzy moment with Arlo Parks’ “Nothing I Could Hide.”
English Teacher was an unexpected hit for me on this album, as I really enjoyed their song “Parasite,” which perfectly encapsulates the bedroom pop-rock sound. It reminded me a lot of beabadoobee, who, to my surprise, actually followed “Parasite” with her song “Say Yes.” These two songs were perfectly paired for this run, especially when paired with Big Thief’s “Relive, Redie.”
The second half
The back half of the album starts to enter the rock terrain, with Fontaines D.C.’s “Black Boys on Mopeds,” Young Fathers’ “Don’t Fight the Young,” and then Pulp making their heavily anticipated comeback. Spoiler: they lived up to the hype.
One of the returning artists from the original HELP album, Pulp’s new single “Begging for Change” is the perfect culmination of an anthem for help. A true standout on this album, Pulp showcases their mastery of upbeat Britpop that captured a time I didn’t even know I missed. The guitar solo was chef’s kiss.
The album ends on a bittersweet note of quiet reflection, featuring artists like Wet Leg, Bat for Lashes, and Olivia Rodrigo’s cover of “The Book of Love.” Closing with Rodrigo was such a smart move on War Child’s part, because not only is Rodrigo one of Gen Z’s most popular artists, but she also has such an angelic voice that is sure to stick with you long after the album’s close.
HELP(2) was truly a wonderful album that not only brought my attention to artists whom I’d never have listened to before, but it also showcases the beauty of collaboration for a good cause. Every artist’s best features were drawn out on this body of work, making it a must-listen for 2026.
Despite the incredible music, the best part of this album is that children were involved in all processes–from meeting artists in the studio, to filming the behind-the-scenes videos, to even helping Olivia Rodrigo create her new music video for her song. War Child’s efforts ring true through this body of work, and you can help too by giving it a listen.
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