GARAGE FLOWER EPK BELOW :
https://freyaelizibeth.wixsite.com/my-site-4#anchors-lffb7a8v
INTRODUCTION
For my Electronic Press Kit project I was once again working alongside the band Garage Flower. The viral sensation hit the indie scene by storm in late 2025 garnering over 40,000 followers online in just sort of a year. Building visual momentum online and their “ unique” sound which critics describe as not “ just good” but “ delightful” (Gordon 2025, The Upcoming Network) sparked the interest of globally recognised Management company Prolificia. Known for their roster and alumni of high quality acts such as Two Door Cinema Club and Wolf Alice, the management team matched them with critically acclaimed booking agent ‘Lola Mitchell’ from 13 Artists. The seal of approval from major industry players has seen the boys land spots on major events such as Great Escape Festival, Festival Republics Leeds Festival and main support slot with Liverpool band ‘Stone’ on their UK and Europe tour.
Not only just a spot on every indie bands dream line up but also signing a two EP record label with indie label ‘The Other Songs’ providing the group with all the resources to begin building their sonic debut EP ‘Garage Flower’.
Due to their signing with major industry companies, their EPK’s primary objective wasn’t for A&R Reps or management companies but instead a business to business tool to provide press outlets and promoters with the definitive visual narrative. In developing this EPK, I served as both the Lead photographer and assistant content strategist in the band’s marketing team. The dual role allowed me to ensure the captured aesthetic from the studio and tour translated to the overall manufactured vision Proflicia commercially required.
VISUAL BRAND IDENTITY
Since the rise of the band their aesthetic has harnessed a “working class energy” ; rife in their lofi imagery and chaotic band reels. A primary challenge for me was maintaining the band’s aesthetic to keep the ‘delightful’ energy as described by critics in my role as photographer whilst also providing the high quality professional assets required as a content strategist. My biggest notation of this dual viewpoint was most prevalent during my run with the band on their UK support tour with “Stone”. My strategic approach was to focus on ‘Social Proof’ throughout the key dates, utilising wide angle shots of the crowds and high energy mosh pit shots that highlighted not only the crowd density but the specific ‘indie sleaze’ demographic in attendance. These were curated for the EPK to act as pillars to showcase how their viral success translates to physical ticket sales and main support energy that matches a tour’s wants and needs. Working alongside Lola here, changed my understanding of the EPK and how it provided visual evidence for global audiences.
Throughout the process I still stayed true to what worked for the band originally to hit global success, the use of film photography and lofi digital cameras. Utilising these for grainy blurry shots of crowd energy in 35mm black and white film. This allowed me to preserve the ‘indie sleaze’ aesthetic that resonated with 40000 fans in their digital community. ‘Authenticity’ is seen as a high value currency with reports from UPROXX Music Trends Report (2026) audiences now actively ‘value authenticity and connection’ above high-gloss production, so utilising this style of photography wasn’t just a stylistic choice but a strategic one. I also began bringing a Polaroid along to take an image of every gig we could sign in the band’s handwriting, creating one of one artifacts from gig days. I integrated these into the EPK as a way to highlight their live gig roster in a way that was tangible to their image.
MARKET EXPANSION
Garage flowers strategy relies on the cultural ‘indie sleaze’ movement as mentioned previously in this evaluation. The movement is set to be valued at approximately 3.12 billion dollars in 2026. (Intel Market Research) The band’s EPK targets scenes where the demand for live guitar driven music has seen a 35% revenue increase, UK’s M62 corridor and the DACH Region (Germany, Austria and Switzerland) (Intel Market Research). Their primary demographic is not only ‘indie sleaze’ fans but further 18-25 year old, who according to Ones to Watch 2026 spend 25% of their travel budget on live gigs. By utilising the film and lofi digital aesthetics, we speak directly to what’s trending for young people and use a visual language of authenticity.
THE STUDIO VS TOUR
The process definitely differed when capturing shots in the studio for the ‘Tracks’ and ‘unreleased demos’ sections of the EPK. Working alongside “The Other Songs” the high energy shots captured in the gig settings were juxtaposed to more intimate focus photography that highlighted the technical involvement behind the scenes : handwritten lyrics, pedal boards, meetings and tracking sessions. With the rise of AI, reports such as Orphiq Music Industry Report (2026) highlight how a ‘human footprint’ in the studio has become a premium asset for bands especially for music media and press to highlight how they are also serious musicians behind the chaos. Imperfections that come along with 35 mm such as dust, scratches and light blur become ‘Anti Ai’ signals for audiences, building that sense of authenticity.
BRAND SALIENCE
Beyond my choice of photography for the EPK, in my role as a content strategist I work on re designing the logo and poster designs for the band. We still wanted to reinforce the bands purple, black and white colour palette seen in their logo prior but with a more sophisticated twist that screamed a more professional nature. The central typography features a warped style text matched with the purple line art floral sketches that overlap the text design. We wanted the logo to feel hand drawn, organic and not perfect, stirring away from corporate rigidity.
Not only did I design the newest logo in cahoots with the EPK but also an alternative poster in the band’s style for their UK and Europe tour with stone. We again utilised the same black, white and purple colour scheme blending in the purple line art floral sketches, utilising the typography from Stones original poster for the tour dates to create a mirroring effect for the events.
Cohesive design choices here acted as a visual motif for the band as for the EPK I utilised the purple seen in the logo throughout as a visual indicator for the logo but also a high contrast thread to the black and white palette in the digital EPK layout. Making use of the same motifs throughout the EPK layout, we begin to build ‘Brand Salience’ for Garage Flower. Moving them into an era where when a booking agent sees a purple bordered text or a grainy black and white tour poster, they immediately associate the “visual shorthand” with Garage Flower’s specific sound and energy.
UNRELEASED DEMOS & TRACKS
Picking select ‘unreleased demos’ and tracks for the EPK was a deliberate A&R strategy. By aligning the band’s sonic identity with the visual ‘Indie Sleaze’ narrative, we not only adopt the look but the lofi production value that’s categorised with it. We needed to prioritise raw, unpolished vocal takes and overdriven guitar tones therefore I utilised the demos taken in the bands garage. The sonic imperfections picked up throughout such as the audible room ambiance and tape hiss, act as a mirror to the 35mm film grain utilized in my photography. Utilising brand salience into all aspects of the EPK design begins to tell a consistent story: the band sounds exactly how they look. This ensures that the marketing assets and the musical repertoire are pushing toward the same market segment and demographic.
DEVELOPING MY SKILLS
The process of working alongside industry professionals, highlighted to me how EPK’s aren’t just used to show what a band is all about but instead is a visual representation to showcase to promoters a band is worth the risk, key demos and records matched with their overall vision and that they have backing from industry professionals that points people to the seal of approval.
AREAS FOR IMPROVEMENT
While the EPK successfully solidified the ‘indie sleaze’ my lack of availability to join the band on the Europe Leg of their tour missed opportunities for me to capture footage to capture the essence of global success we were looking for especially when bridging into DACH regions like our market expansion proposed. Lack of communication with the other photography for the second half of tour, meant styles weren’t exactly mirrored and high quality glossy photography were prioritised instead. Going forward I will create a content plan for photographers or creatives working alongside me to ensure the vision isn’t jeopardised at any points.
Upon reflection in 2026 our industry landscape is shaped by the prioritisation of Diversity, Equity, and Inclusion (DEI), on my grainy imagery or high contrast logo I failed to provide ‘Alt Text’ descriptions. In the future I will focus on ‘Inclusive Branding,’ ensuring that the ‘working-class energy’ of Garage Flower is accessible to all. I could do this by implementing a dual layer digital EPK, satisfying the creative needs and professional requirements of a company like Proflicia.
BIBLIOGRAPHY
“Artist Roster.” 13 Artists, www.13artists.com/artist-roster/.
“EPISODE 77 : THE BEST NIGHT of the YEAR (THIS FEELING BIG in 2026).” UPCOMING, 18 Feb. 2026, theupcomingblog0.wordpress.com/2026/02/18/episode-77-the-best-night-of-the-year-this-feeling-big-in-2026/.
“Intel Market Research.” Intelmarketresearch.com, 2026, www.intelmarketresearch.com/indie-sleaze-revival-market-44118.
“Prolifica.” Prolifica Management, 2025, prolificamanagement.co.uk/.
“STONE Official Store.” Stone.band, 2026, stone.band/10641.
Team, MobiMatter. “Gig Tripping 2026: 7 Most Anticipated Music Concerts and How to Plan Your Trip.” Mobimatter Blog, 9 Feb. 2026, mobimatter.com/blog/gig-tripping-top-7-concerts-travel-guide/.
“The Music Industry in 2026: Trends and Opportunities | Orphiq.” Orphiq.com, 15 Mar. 2026, orphiq.com/resources/music-industry-2026-trends.
“The Other Songs.” Theothersongs.com, 2026, theothersongs.com/.Uproxx. “The UPROXX Music Trends Report.” UPROXX, 23 Mar. 2026, uproxx.com/insights/the-uproxx-music-trends-report/.
