Daisy Veacock

Daisy Veacock is a girl with, as she puts it herself, “a Kangol hat and a dream.” Daisy is a singer-songwriter from South London who masterfully blends the sounds of 2000/2010s pop, drawing inspiration for her vocal style and lyricism from artists such as Eliza Doolittle and Lily Allen, with jazz instrumentation to create a soulful and unique jazz-pop fusion unlike any other, a sound which is undeniably Daisy. Music has always been a natural path for Daisy, as both of her parents are musicians, with her dad even being part of her band (Daisy Veacock, TikTok, 2024). Daisy said that her love for music stemmed from the amazing piano at her grandparents house, which all of the grandchildren were keen to learn how to play. Daisy stated, in an interview with Sienna Romero-Cameron for Shift London, that she worked on learning “silent night,” playing it repeatedly for six months and that by December she had learned it perfectly, demonstrating her determination to music at such an early age. After that, there was no going back. Auditioning and successfully earning a place at the award winning BRIT school at the age of 15 allowed Daisy to develop her musical style, vocal skills as well as her keyboard and guitar playing abilities. Daisy’s time at the BRIT school provided her with an environment to network and meet like-minded and skilled musicians who not only formed her friendship group but also formed the 5 piece Jazz band who accompany Daisy when recording new music and gigging. Daisy’s drive, and the TikTok popularity of her single “pickle juice” in 2022, got her noticed and led to her being offered a position supporting Jools Holland at the Royal Albert Hall in 2023 (Somerset County Gazette, 2024). Daisy then went on to play three small stage positions at Glastonbury festival in 2024 (Daisy Veacock, TikTok, 2024) which allowed her to network further with other musicians and begin to make a name for herself.

Daisy’s Sound

miss ‘make it all about me’

The music Daisy writes has a nostalgic feel, with ‘miss ‘make it all about me’’ making use of a conjunct melody in a major key to create a joyful lightness which crafts an image of a summer of fun in the mind of a listener. The use of a jazz band is recurring throughout Daisy’s discography, adding to the upbeat nature of her music and providing musical texture to the song, mirroring the hustle and bustle of London living. This is further symbolised through the layering vocals towards the end of the song. This song also features a sample of Daisy speaking, taken from a voicemail she left a friend, allowing the listener direct insight into her personal life. Daisy’s lyrics are relatable to her audience. The mention of  “Big Tesco” (in her song ‘Miss ‘make it all about me’’, which was released in June 2025) is an easy-to-imagine location for British listeners, whilst her reference to “Van Gogh”, plays on the pop culture knowledge of her audience to create a metaphor that only those with that pop culture knowledge will understand. The self deprecating nature of the lyrics also portray Daisy as down to earth and likeable, describing herself as “Miss ‘make it all about me’”, allows the audience to connect with her, making them to feel as though they know her slightly better by her demonstration her personality within this song. I believe that this song could be popularised due to the catchy hook combined with the snappy and witty lyrical phrase “miss make it all about me” which is repeated five times during the chorus and is therefore drilled into the head of the listener. The chorus also lasts 40 seconds, an ideal length of time for social media promotional videos.

for a rainy afternoon

In ‘for a rainy afternoon’ Daisy makes use of a minor key, singing sotto voce at the beginning of the song, creating the heart wrenching mood of a sad love song. The contrast between the use of the full jazz band in ‘miss ‘make it all about me’’ and the thinner texture present within this song demonstrates Daisy’s ability to create variety in order to appeal to a wider audience. Her wide range of emotions also allow an audience to connect with Daisy’s music, however they are feeling. Daisy sings in her London accent, a technique popularised by artists such as Amy Winehouse and Lilly Allen. Daisy articulates all phonemes when she sings and never masks her accent with American pronunciations or with the use of americanisms within her lyrics, this creates a sense of authenticity. The lyrics within this song are melancholy, with Daisy reminiscing of a time when she was seeing a boy who wouldn’t even look her in the eye, something that would resonate with any listener who has been in a relationship where the couple have grown apart. Daisy’s ease at conveying a variety of emotions simply through her voice makes her the ideal artist for the release of a pop album which often consists of 7/8 upbeat and catchy songs and 3/4 slower and more sorrowful songs, often about heartbreak. Alternatively, an approach which is becoming popularised by ex BRIT artist RAYE is the formulaic structural approach of a verse which uses a slow tempo, sombre lyrics and is often sung with a more hushed vocal, combined with a faster tempo chorus which uses a major key and is more jazzy, almost the perfect blend of the two Daisy Veacock songs included above. This may make Daisy’s music appeal to RAYE’s already large fanbase consisting of 50 million monthly Spotify listeners. This could also make Daisy an appealing candidate for being signed by Polydor records, the recording company who RAYE was originally signed to before losing her in 2021, due to the similarity in their jazz-pop style and the lack of other artists of a similar style currently signed to them, (BBC, 2021). Alternatively, Daisy’s jazz-pop fusion may also attract attention from a smaller labels such as Blue Note Records due to the similarity between her style and artists such as Norah Jones who is currently signed to them, but who was at the height of her fame back in the early to mid 2000s, (Blue Note Records, 2025).

Daisy’s Social Media

Daisy’s Look

A beige Kangol hat, bold blue eyeliner and silver hoop earrings create a reoccurring image across Daisy’s social media platforms and EP covers, making her instantly recognisable. Not only do they form part of daisy’s brand but they are also cohesive with the picture of her that a listener would create in their head when listening to her music, girly and cute but with a London edge. Daisy’s clothing choices are similar to most girls her age, dark wash baggy jeans often paired with a red or black top, a classic look that is mirrored by her target audience. This can be evidenced through photographs of daisy and her fans at gigs which she often reposts on her Instagram story.

Instagram

Daisy’s Instagram is far from professional, with her posts consisting of ‘photo dumps’ from pub trips, hang outs with friends as well as images of people peeling potatoes. Despite this, she has a small but growing follower count of 5,377, and has established a colour palette and a slight brand for herself on her grid. This colours palette is something which I would push further and solidify when redesigning Daisy’s Instagram.

Shown on the left are some images currently present on Daisy’s instagram which have little to no relevance to her music. Although it may be argued that they are an attempt to demonstrate her authentic self and be real with her fans, I would argue that these posts are distracting a viewer or potential fan from important posts such as; posters containing event information, professional photoshoots and song release dates. Therefore, I feel it would be important for Daisy’s career development to remove the images shown on the left as they lack cohesion and do not fit with Daisy’s branding. With the removal of those posts, Daisy’s Instagram grid will appear more similarly to the collage on the right, with a focus on her blue and red colour palette, which fits with her ‘South London Girl’ brand by mirroring the colours of the Union Jack, as well as using iconic London imagery such as a tube station and a photograph taken outside the famous Camden pub ‘The Dublin Castle’, known for hosting world renowned British artists such as Amy Winehouse, Madness and Arctic Monkeys, (Comedy in Your Eye, 2025). These images do not only further Daisy’s branding but also include vital information about her music such as song titles “cool, confused clapham” and “when I used to spend the night”, meaning that followers can make note of the release of these singles which is likely to increase Daisy’s monthly listeners on Spotify. Daisy has her own typeface which is featured occasionally on her Instagram but I would have it featured more consistently due to its perfect portrayal of her brand due to its handwriting-like appearance and slight imperfections. This is created by having the lettering misaligned. This presents Daisy as carefree, a trait that girls of a similar age and younger may find inspiring due to how uncommon this is in an age of social media pressure to fit the beauty standard and an expectation that one should look and act like everyone else. This may also make Daisy Veacock a desirable name to have signed to ones record label due to how unique these traits are in comparison to other popular artists who are currently releasing music. Posters featuring Daisy’s typeface and professional photographs of her are the only posters I would include on her Instagram and I would avoid use of in-house, venue-made, posters to allow for consistency across her Instagram and reinforce branding further.

TikTok

TikTok has been a hugely helpful platform for Daisy’s growth, with two of her songs having been used in over 100 videos each, and with her like count at 988.4k. Daisy has a TikTok follower count of 6925, and she consistently posts TikTok videos numerous times a week using her own audios in order to get her music noticed by TikTok users all over the world. This has been working in Daisy’s favour with certain videos reaching audiences of over 70 thousand. The use of the blue and red colour palette has been translated onto her TikTok account, and unlike on her Instagram account, Daisy’s TikTok platform is used solely for promotion of her music and does not include anything of her personal life. I believe that this is a step in the right direction for Daisy, with more and more A&R scouts both from labels, and independently, using TikTok as a means for finding new talent indicating that if Daisy Veacock continues to post consistently she may soon get scouted. One improvement that I would make to Daisy’s TikTok account would be making use of her personal typeface on all of her videos rather than using the TikTok-made typefaces, this would simply allow for a viewer to more easily recognise her.

YouTube

Daisy’s YouTube platform is much like her TikTok account, it is used solely for the promotion of her music, it is cohesive with her branding and she is the top result when searched on any YouTube account. Daisy’s posting of YouTube shorts is synchronised with the posting of TikTok videos, allowing each video to reach a wider audience, an audience of both YouTube and TikTok users. One way in which growth of Daisy’s YouTube audience could be possible would be by releasing more official music videos. This would be another way to establish her identity as an artist.

Although the two colour palettes successfully allow for the telling of the breakup story, giving an audience an insight into Daisy’s emotions throughout, it does not successfully portray Daisy’s style or look. The bright palette allows for some portrayal of Daisy’s nostalgic, girly, pop side however it seems to neglect her jazzy London edge. In an attempt to develop from these mistakes, when creating music videos for Daisy’s newer releases, I would make use of the cooler blue tones often featured on her social media, along with the use of her signature typeface to further develop her identity as an artist. The use of blue tones is already present in her YouTube short videos, therefore repeating this theme in a full length music video would allow for her videos to become recognisable at first glance to a viewer.

Music Release

Playlist Feature

Currently, Daisy has released an impressive 11 singles, and two EPs. This music is accessible on a rage of music platforms including Spotify and Apple Music which allows for a relatively broad range of streaming service users. In order to increase Daisy Veacock’s listeners, I would ensure that her music was accessible on even more streaming services including Amazon music, YouTube music and perhaps some more ethical services such as BandCamp, due to possible fans of Daisy’s music boycotting larger services such as Spotify and Apple, (Janice Gassman Asar, Forbes, 2025). Despite Daisy’s large Spotify listening, of 11.6K people a month, her music has rarely made it on to any Spotify-made playlists such as their “Release Radar”. I think that a potential step that could be taken to increase Daisy’s listeners would be having her music featured on such playlists. According to Spotify support, songs must be pitches at least 7 days before release in order to be added to the “Release Radar” playlist so I would have a member of Daisy’s management team ensure that this is completed before each individual song release, making this an achievable goal for the near future.

Mailing List

One successful step taken by Daisy’s management team to ensure engagement of her music is by creating a mailing list. Joining the mailing list is an option which can be found via Daisy’s Linktree in her Instagram and TikTok bios. As well as this optional approach to joining the mailing list, another way in which her team accumulate the email addresses of fans is through ticketing websites for Daisy’s gig in which you must enter your email address when purchasing tickets to an event. Daisy’s mailing list do not receive countless emails regarding events or promotion for her old releases as this may be off putting to fans who are debating signing up to the mailing list or may cause people who are already signed up to unsubscribe. The emails are sporadic and only include vital information regarding the upcoming release of new singles, they are also written by Daisy herself which creates a personal touch which may be greatly appreciated by the fans, and they include her iconic typeface to further push her branding.

Album Release

I believe that a next step for daisy would be to release an album, something which she is yet to do. Daisy has now been releasing music for over 5 years and is in a position where she has a wide enough following that the release of an album may cause a buzz, this can be evidenced through TikTok comments of fans enquiring when she will be releasing songs. Not only would the release of an album possible allow Daisy to truly make a name for herself outside of her London based audience but it may get her noticed by a label. “Cool, confused, Clapham”, Daisy’s latest single, was produced by the famous Future Cut, a duo made up of Tunde Babalola and Darren Lewis, who work for Universal Music Publishing Group. They are known for their co-writing and production of Lily Allens album “Alright, Still”. By already having worked with producers from UMG who are credited for bringing Lily Allen the fame she has, I believe that Daisy is on the right trajectory to possibly having an album produced by them in the future, hopefully making Daisy Veacock the next Lily Allen, but with her own unique jazz spin on things.

Gigging

Fan Interactions

Daisy has successfully used her gigs and events to form connections with her fans, hugging fans, allowing for photos of her to be taken with fans (which she often reposts on instagram), and even following some of them back on social media. By allowing her fans to feel as though they are friends with her and have formed a genuine connection with her, Daisy has masterfully portrayed herself as a welcoming and modest artist. By allowing fans to form real connections with her, Daisy has made becoming a fan of hers desirable. This will work in Daisy’s favour if she chooses to take the “true fan” approach and create an exclusive group of fans. This is a marketing model first introduced by Kevin Kelly which suggests that one can have a successful, independent career so long as they have 1000 true fans. In the music industry this could work by making money from exclusive meet and greets, releasing multiple physical editions of the same album, and so long as you have a number of true fans who are keen to pay for each of these things then you will eventually become very successful. This approach has been hugely successful for K-pop label “HYBE” who have made becoming a super fan attractive to the audience. Through Daisy’s use of fan interaction, it is likely that she has already acquired some super fans who would purchase all of her merchandise.

Support Slot

Daisy has played a number of famous London venues from iconic Camden pubs to the Royal Albert Hall, however that’s where her map ends. Of course we see lots of upcoming artists leave their villages to come to London to play events as that’s where the nightlife is booming and artists are likely to get scouted but this doesn’t allow for much broadening of audiences. In order to have Daisy develop a wider fanbase I would have her leave her comfort zone and play some gigs across England and, in time, across the globe. An ideal way in which I would make this happen would be by securing Daisy a support position on tour with an artist who has already created a name for themself, such as RAYE, an artist who shares Daisy’s incorporation of jazz instrumentation into pop music, whilst offering a less eccentric performance making her ideal for a warm up slot. I also believe that RAYE may be the artist to allow this to happen due to her big break happening after playing a support slot for Jess Glynn, another London based artist. I believe that this plan is feasible considering RAYE’s support of other London-based vocalists in the past. For example, when performing at the BRIT awards, Raye used a choir of secondary school singers as her backup performers, (BBC,2024). It is also likely that Daisy may be able to access some form of contact with RAYE due to their shared alumni status at the BRIT school.

Glasonbury Festival

After playing a small stage slot at Glastonbury Festival back in 2024, it would be ideal for Daisy to play Glastonbury again but perhaps playing a larger stage or opening for a larger artist. Daisy Veacock will have made a name for herself amongst the final decision makers for the Bread & Roses stage lineup back in 2024, thus making her more likely to be selected to play again in the summer of 2026. This is a veryp achievable plan due to the Bread and Roses lineup being solely application based. Daisy was also offered to play again in 2025 but was unable to due to not being able to secure stage passes for all five members of her band. In order to avoid this in a future scenario I would advise discussing stage passes very far in advantage, before even agreeing to pay, to ensure that all members of her band could be present to play. Not only would this increase Daisy’s scope for developing fans but there is also a chance that she may then get scouted by a record label whilst performing at Glastonbury festival.

Bibliography

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