Various artists
HELP(2)
WAR CHILD
On the one hand it’s a shame to consider the three-decade wait for a sequel to the Britpop-era various-artist compilation HELP, which featured tunes from Oasis, Radiohead, Sinéad O’Connor, and more. Though on the other, HELP(2) couldn’t have arrived at a better time, in dedication as it is to the War Child charity and its single goal of “ensuring a safe future for every child affected by war, reaching children as quickly as possible when conflict breaks, staying long after cameras have gone to support them through recovery.” Yes, it’s necessary, even crucial. Just knowing that there are countries such as ours too willing to build wars out of nothing at all means that we’ll require War Child’s services for several volumes to come.
So, too, is having rousing, healing music dedicated to balming those in harm’s way a must. Having Damon Albarn break from the warmly emotive new Gorillaz album for a Bowie-esque, piano-heavy allegory on banner-waving “Flags” with guitarist Johnny Marr and vocals from Kae Tempest and Fontaines D.C.’s Grian Chatten and a protesting Jarvis Cocker lead Pulp through “Begging for Change” are reminders that the competitive nature of ’90s-era Britpop wasn’t all for selfish gain. Additional credit to all for having mod pop’s most curious creator, Olivia Rodrigo, team with Albarn’s Blur bandmate Graham Coxon for her bruised, cheeky take on The Magnetic Fields’ “The Book of Love.” After covering songs from The White Stripes, The Cure, Talking Heads, and Veruca Salt, having Rodrigo tackle the melancholy melodies and bittersweet sarcasm of Stephin Merritt is as much a feather in her cap for invention as it is charitableness.
Adapted previously by the likes of Nina Simone and Eartha Kitt, Pakistani vocalist Arooj Aftab and Beck turn the jazz minimalism of “Lilac Wine” into something maximalist and moody for HELP(2). Other exclusive pairings—such as Anna Calvi with Dove Ellis, Wolf Alice’s Ellie Rowsell, and Nilüfer Yanya for a searing “Sunday Light” and English Teacher with Coxon again for “Parasite”—are equally inspired and inspiring. Add in the likes of Depeche Mode doing Buffy Saint-Marie’s “Universal Soldier,” Beth Gibbons performing her original “Sunday Morning,” and Arctic Monkeys’ “Opening Night” as the most perfect first track for any album anywhere—it’s all pretty inspiring stuff. Extra charitable points go to Fontaines for lending out the tough-and-tender “Black Boys on Mopeds” for a good cause.
A late addition to the tracklist, perhaps the anthemic live version of Oasis’ “Acquiesce,” recorded during the band’s 2025 reunion run at Wembley Stadium, is an important reminder for all: If the Gallaghers can have and hold a détente, everyone on the planet can, no matter what their differences may be.
