Whereas the original 1995 HELP compilation was very much a Britpop-dominated affair, with key contributions from mid-90s British heavyweights like Oasis, Blur, Manic Street Preachers, Boo Radleys and The Charlatans, alongside the big beat excesses of The Chemical Brothers, this 2026 iteration offers a far more diverse collection. Its scope and selection of artists feel more eclectic, reflecting a musical landscape shaped by the internet age, where artists draw from a vastly broader range of influences.
That said, HELP(2), like its predecessor, still pulls off the impressive feat of bringing together many of today’s most well-known, respected, and popular artists in one place for a single admirable cause. Merely a glance at the tracklist and it will read like a who’s who of contemporary British and Irish “alternative” music.
Arctic Monkeys, who are arguably the biggest British guitar band of their generation, sit alongside their spiritual successors from these shores, Fontaines D.C. Dig a little bit deeper and you’ll find a host of critically acclaimed, culturally relevant acts, including The Last Dinner Party, Black Country, New Road, Arlo Parks, Wet Leg, and Young Fathers. From across the Atlantic come contributions from Cameron Winter and Big Thief, alongside pop phenomenon Olivia Rodrigo. The roster of younger artists forms an impressive cross-section of alternative and mainstream crossover talent, offering plenty of opportunities for listeners to discover something new through familiar names.
Alongside these contemporary voices are veterans whose influence still looms large, with contributions from Pulp, Depeche Mode, and Beth Gibbons. So, the line-up is absolutely stacked, but does the album itself work? For the most part, the answer is a resounding yes. One key difference from the 1995 compilation is how many of these songs directly and emotionally engage with the War Child cause, something that was perhaps lacking the first time around. Another welcome surprise is how many tracks appear to have been written specifically for the project, rather than assembled from outtakes, leftovers, or hastily recorded covers.
That’s not to say HELP(2) is entirely made up of original material. But when covers do appear, such as Beth Gibbons’ take on the Velvet Underground’s Sunday Morning, or Olivia Rodrigo’s lullaby-like interpretation of The Magnetic Fields’ The Book of Love, they feel carefully considered, driven by a genuine desire for reinvention. Gibbons’ version is particularly breathtaking, transforming the song’s proto-indie jangle into a forlorn, gothic folk ballad.
Fontaines D.C.’s recording of Sinéad O’Connor’s Black Boys on Mopeds is another standout. One of the highlights from O’Connor’s landmark 1990 album I Do Not Want What I Haven’t Got, it remains one of her finest protest songs. Grian Chatten and co., are faithful to the original’s intent and desolate atmosphere while gradually building toward a heavier, arena-leaning climax, complete with stirring strings. The result is both respectful and expansive, and another reminder of why comparisons with a certain hugely successful Irish rock band continue to grow.
Arooj Aftab’s rendition of James Shelton's Lilac Wine, best known through Jeff Buckley’s 1994 version, is another immediate highlight. Where Buckley’s take leaned into drama, Aftab opts for something jazzier, hazier, and dreamlike. As the song draws to a close she’s joined in harmony by Beck, conjuring a noir, midnight flourish as it concludes.
Among the original material, it’s hard to look past Cameron Winter’s Warning, his first new solo track since the release of his acclaimed debut Heavy Metal and Geese’s mainstream breakthrough with Getting Killed last year. The song is easily the most experimental offering on the compilation, one which pairs Winter’s distinctive half-sung, half-spoken stream-of-consciousness delivery with an increasingly imposing string arrangement. It’s another reminder of his unique, unpredictable voice in contemporary music, and will no doubt be of great interest to those eager to hear where he goes next.Elsewhere, Arctic Monkeys open the album with Opening Night, a slick, strutting number whose woozy instrumentation and hushed vocals make for an effective introduction. It’s the band’s first new release since 2022’s The Car, and rumours abound that it may mark a farewell of sorts from the group as a collective unit.
Further highlights include Black Country, New Road’s Strangers, a baroque, progressive folk piece that wouldn’t be out of place amongst the best moments of 2025’s Forever Howlong. The Last Dinner Party arrive with Let’s Do It Again!, dialling up their trademark theatricality and kitsch drama in a way only they can.
Perhaps the biggest surprise is how well Depeche Mode’s electro-goth reinterpretation of Buffy Sainte-Marie’s 1964 anti-war song Universal Soldier works. It’s among the darkest tracks here, and one that most directly addresses the purpose behind this charity release. Pulp’s cleverly titled Begging for Change provides another jab of energy, a raucous four-minute burst of yelled vocals, chugging, psychedelic, fuzz-soaked guitars, and palpable sense of chaotic fun. The band sound looser and freer than they have in years, clearly relishing the chance to give it their all on this one-off contribution.
Of the collaborative tracks, the best may be the penultimate Sunday Light, a heavenly wash of sound featuring the combined voices of Anna Calvi, Nilüfer Yanya, and Dove Ellis in striking harmony. Which, in many ways, captures the spirit of the album itself, it’s a coming together of voices in pursuit of change, solidarity, and the hope for a better world.
Various Artists / War Child Records - Help(2) is out now on vinyl 2LP + 7" & 2CD
