TURN IT UP WITH PATIENCE PLEASE

2 days ago
8 min read

Introducing Patience Please, the West London four-piece fronted by Ollie Palmer on vocals and guitar, alongside Arthur Marriott on lead guitar, Tommy Lane on drums, and Tilly Cripwell on bass, the quartet are bonded by loud rehearsals, turned-up amps, and an unshakable belief in the music they’re making.

Their debut EP Miles Away captures a band in motion. Built on catchy indie-pop hooks that demand movement, the release shifts between energetic highs and more vulnerable moments, from the anthemic pull of its title track to the emotional weight of “Madeline.” It’s this balance - raw, energetic, and emotionally open - that defines their sound, but it’s on stage where it truly comes alive.

Having reached the semi-finals of the Isle of Wight “New Blood” competition, sold out shows, and a second EP already in the works, Patience Please are only just getting started. Momentum is building, and so is the noise.

In conversation with F Word, the band reflect on their organic beginnings, the evolution of their sound, and the chaotic, high-energy spirit that drives them forward.

Maisie Daniels: Welcome to F WORD mag! Take us back to the beginning. How did Patience Please first come together, and at what point did it start to feel serious?

Ollie Palmer: It all came together pretty organically. I was at drama school and music was just a small part of it, but I was constantly writing songs. I didn’t think they’d go anywhere, it just felt great to get the words down.

Then our lead guitarist, Arthur, mentioned at a party that he played by ear. We started turning the lyrics into music and it clicked instantly. Before long, we were swapping demos and bouncing ideas around.

A week later, our brilliant drummer Tommy, who I’ve known for years, called up, asking why he wasn’t involved. I hadn’t even thought of it as forming a band, but suddenly, we were. The three of us rehearsed in a free space at my drama school, we just kept showing up and before long, the songs were sharper, the energy higher, and it just snowballed.

Tilly joined later. We met her at a small festival where she was performing a beautiful acoustic set, and we got chatting. Within minutes, it was clear she was incredibly talented. She speaks multiple languages, is an activist, and involved with a record label called Inhouse Records that facilitates music-making within the criminal justice system. She raised the bar instantly, and bringing her in felt like the final piece falling into place.

MD: Patience Please is a name that sticks! Where did it come from and were you all in agreement?

OP: That one comes from Tommy being a massive Rolling Stones fan. He had a poster of Keith Richards next to a sign that said “patients please,” and it just stuck.

It has a bit of attitude, a bit of humour, and it felt right straight away.

MD: What’s one thing the world could do with a bit more patience for?

OP: Struggling artists. Which is ironic, because I am not patient at all. I hate traffic, slow walkers, anything that drags. I want everything to happen right now including playing packed out shows at Wembley Stadium.

MD: Your debut EP Miles Away is now out in the world. How have people responded to it so far?

OPIt has been completely brilliant. I have been blown away by the response, especially for a debut. There has been a great response online, but for us the biggest thing is always how it translates live.

We are starting to notice that people are picking up on the choruses and really getting involved. Hearing a crowd sing your songs back to you is a pretty surreal moment, especially this early on. It feels like a sign we are heading in the right direction. It also takes the pressure off me a bit. If I forget a line, there is always someone in the crowd ready to jump in, which is very useful. We have also seen a strong response from places like Brazil, which is incredible. The idea of taking the music out there and playing to those audiences is really exciting.

MD: You’ve described the EP as a snapshot of who you are right now. Can you describe what that looks like?

OP: It is very much a reflection of where we were at that moment. Quite raw, quite energetic, and very rooted in how we play live. There is a sense of movement in it, like everything is building.

At the same time, we are already working on what comes next. The second EP is nearly there, and it feels like a massive step forward. It still has that live energy and that slightly chaotic edge, but everything feels bigger and more refined. So basically this is really just the beginning. There is a lot more to come.

MD: Your sound sits somewhere between big, anthemic indie and more intimate, vulnerable moments. Was that balance intentional, or something that naturally fell into place?

OP: It definitely came together naturally. We have always leaned into big choruses and that sort of stadium energy, because that is what people connect with straight away, especially live. You can feel it when a crowd locks into something and starts shouting it back at you. That is the sweet spot.

But at the same time, we have never wanted it to just sit in one gear. There are moments that pull things right back, a bit more stripped, a bit more exposed. It keeps everything moving and stops it becoming one note. Everything is still rooted in guitars, that never changes, but it is about when you push it and when you hold back. That contrast is what makes it hit harder.

MD: There’s a real emotional openness across the EP. Does writing from that place come easily, or does it take a bit of pushing yourselves to go there?

OP: It is pretty natural for us because most of it comes from real experiences. A lot of the songs are rooted in relationships, things we have actually been through, and that carries into the next EP as well. It is not forced, it is just where the writing tends to go. What has changed is that it is not just coming from me anymore. Arthur has written a couple of tracks as well, and they bring in his perspective, which adds a whole new layer to it. There is also one song written from my dad’s perspective, about losing his father, which goes to a different place emotionally. That one definitely hits a bit deeper.

MD: How would you describe the EP if it was a taste, a temperature, and a smell?

OPr: Temperature is easy. It is hot. Properly hot. The kind that feels slightly out of control.

Taste would be something sharp with a bit of bite to it. Not too polished, but still addictive enough that you want to go back for more.

And the smell is a mix. There is something clean in there, but also something a bit rough around the edges. Late nights, crowded rooms, a bit of chaos. It is that balance again.

It is not one thing. It is the contrast that makes it work.

MD: Your live shows have built a reputation for being high energy, but what happens after the chaos? Do you have any rituals for coming back down to earth after a show?

OP: There is no real coming down, if I am honest. We tend to just ride it out until our bodies force us to stop. After a show the energy is still there, so we go with it. It usually turns into a very long night that rolls straight into the next day. There is no calm, reflective moment. It is more a case of eventually realising you probably should go home.

MD: Is there a track from the EP that hits differently when you play it live, one you are especially excited for people to experience in a room?

OP: The bigger, anthemic tracks always land the hardest live. They are the ones where you really feel the shift in the room. As soon as people start locking into the melody and throwing it back at you, everything lifts. That is what we chase when we are writing. Something that sticks instantly but also grows the more you hear it. When that connects in a live setting, it is a completely different experience.

MD: You have played your way across London, from smaller rooms to sold out shows. What has been a standout venue for you, and what made it special?

OP: Dingwalls in Camden, without a doubt. There is just something about it. The history, the atmosphere, the fact that so many artists have come through there and then come back once they have made it. You can feel that when you walk in. It feels like an occasion. Camden itself has that energy anyway, but inside the venue you really get the sense that you are part of something bigger. They have also been incredibly supportive of us, which makes a huge difference.

MD: London’s grassroots venues are under constant threat. What do spaces like those mean to you as a band coming up through that scene?

OP: They are everything. That is where you figure out who you are as a band. It is where you test songs, build a crowd, make mistakes, get better. You cannot replace that. It is also where real connections happen. People discover you properly in those rooms, not through a screen. That is how you build something that actually lasts. Without those spaces, there is no real starting point. They are the foundation of it all.

MD: You’ve made it to the semi-finals of the Isle of Wight “New Blood” competition. Congratulations! How did that moment feel, and did it shift your confidence as a band at all?

OP: It is a great feeling, mainly because it is validation. We have always believed in what we are doing, but when something like that comes in from the outside, it hits differently. It is proof that people are actually listening and backing it. We are in an industry that is mostly rejection, so when something lands, you take it. It gives everyone a lift and reinforces that we are on the right track.

MD: With the chance to play the festival on the line, are you approaching those upcoming performances any

differently, or just leaning into what you already do best?

OP: It is very much about leaning into what we already do. The live show is everything for us. That is where it all clicks, where people really connect with the music. So there is no point suddenly changing that. If anything, it is just about doing it better. Tighter, sharper, more confident. Let the adrenaline do its thing and trust what we have built.

MD: 2026 is already shaping up to be a big year for you. What does this next chapter look like for the band?

OP: It feels like everything is starting to become very real. There are conversations happening now that were not even on the table a year ago. Proper momentum, real opportunities, the kind of things that make you think this could genuinely be it. At the same time, we are building constantly. New music, bigger shows, growing the live side. That is the focus. The goal is simple. Keep pushing, keep improving, and make it impossible for people to ignore us.

MD: And finally, this is F WORD magazine, so we have to ask… what’s your favourite F word?

OP: Ferocious. It feels about right for where we are at. High energy, a bit relentless, and not really interested in holding back.