Formed from a shared love of ’70s art-rock and modern alternative textures, KillerStar began as the creative vision of founders Rob Fleming and James Sedge but quickly evolved into something far greater. What started as a passion project soon drew in an extraordinary circle of musicians closely associated with David Bowie, organically shaping a band whose sound bridges eras without leaning on nostalgia. The result was a self-titled debut that earned glowing praise from MOJO, The Times and RnR, alongside sold-out shows across the UK and USA.
Now, KillerStar steps into their next chapter with the release of their second album, The Afterglow, arriving March 20th. The title track, unveiled as the new single, captures the rush, unity and emotional charge that define the band’s live energy. Following the swagger of the first single So Easy, The Afterglow surges forward with high-tempo intensity and a soaring hook, while still allowing each musician room to leave their mark.
Earl Slick’s lead guitar cuts through with melodic grit, a fitting moment as he marks 50 years since his work on Bowie’s Station to Station. Mike Garson’s unmistakably unorthodox keys (heard on Aladdin Sane and Young Americans) weave through the track, while The Webb Sisters add luminous backing vocals that balance Fleming’s commanding lead. Beneath it all, James Sedge’s driving drums, Fleming’s crunchy rhythm guitar and Mark Plati’s virtuoso bass playing create a groove that feels both tight and expansive.
“The Afterglow is the title track from our new album of the same name,” says Fleming. “The song aims to invoke that euphoric glow the feeling you get after watching a great live show or playing music onstage. We feel this is reflected in the energy of the playing on this song, all musicians playing as one, serving the song. It propels forward at pace, sprinkled with some earworm riffs and hooks.”
Written by Rob Fleming with James Sedge, the album was co-produced by the duo alongside Dave Eringa (Manic Street Preachers, The Who), who also mixed the record. Sessions featured a remarkable lineup of collaborators, including Emm Gryner, Gerry Leonard, Alfio Annibali, Dom Beken and Carey Frank. The record was mastered digitally by Joe La Porta at Sterling Sound, with vinyl mastering by Miles Showell at Abbey Road Studios.
Recorded across London, New York and Los Angeles, including sessions at RAK, The Clubhouse, Strongroom and Dean Street Studios. The Afterglow carries the atmosphere of spaces steeped in musical history. Fittingly, KillerStar will celebrate its release with two special album launch shows at the 100 Club on March 6th and 7th, returning to the venue where they first made their mark. All three previous shows have sold out and this next chapter looks set to burn even brighter.
This new single is called The Afterglow, and you’ve described it as capturing that euphoric feeling after a great live show. Why was that sensation important for you to explore now?
It felt appropriate for the time, on the back of playing live shows in NYC and London with KillerStar and then going to watch some great concerts. In parallel, we were writing new material and the inspiration and buzz from the live shows found their way into creating this song.
The track feels very immediate and driving, but there’s also space in it for each musician to shine. Was that a conscious decision in the writing and recording?
Not consciously. But at this point we are tuned into the way we all play, and we like to leave space in the songs for the contributions of the players to the music. We also have a fantastic mixing engineer and co-producer, Dave Eringa. Dave is very on our wavelength with the sound we love, and part of that is also about letting the musical details shine through in the mix and balancing things accordingly.
You’re working again with musicians closely associated with David Bowie, including Mike Garson and Earl Slick. How do you balance honouring that musical heritage while making sure the band still sounds like its own entity?
Well, it’s an honour that Mike, Earl, Mark and others are part of this and that they want to be involved, but the focus is on the original music — the songs that we have already written. The songs are really the basis of us sounding like our own entity. The other players then bring their own flavour and way of playing.
Earl Slick’s guitar work on this track is particularly striking. What does he bring to the song that perhaps couldn’t be achieved any other way
Earl doubles up with Rob on guitar on this track. Earl is playing some lovely melodic lead guitar phrases. He often plays unexpected notes and phrases, and that really adds to the vibe of the record. Earl is a master at playing for the song — what it needs and what it doesn’t need. He obviously has incredible experience of this, having worked on so many sessions with the likes of David Bowie and John Lennon.
You’ve said that all the musicians are “playing as one, serving the song.” How does that collective mindset change the way you approach songwriting and production?
Actually, because the musicians are so tuned into this approach, it means there is nothing needed out of the ordinary in terms of the approach to the songwriting.
This is the title track from your second album. At what point did you realise this song represented the spirit of the record as a whole?
At the end of writing the album. We sat back and it kind of picked itself as a single. We felt it was capturing the energy and spirit of the whole album.
Compared to your debut, there seems to be a greater sense of momentum and purpose here. Do you feel the band has become more confident in who it is?
Yes, I think so. I think that comes with having made the debut album and played live shows together since. There is a little more cohesiveness. Also, we have felt a momentum since that first album, and that has carried us along and inspired us. I think maybe some of the song narratives, lyrics and such are a little more purposeful too, with some specific themes running throughout.
You recorded this album across London, New York and Los Angeles. Did working in those different cities influence the sound or atmosphere of the record?
I don’t think those cities influenced the sound — more the sessions in each of those, and in some cases the studios. For example, we did a chunk of recording at RAK Studios, London, which has a very distinct atmosphere.
The album is produced and mixed with Dave Eringa, who’s known for working with bands that balance ambition and accessibility. What did he bring to the process?
Dave is a master of his craft! He has a long-standing association with the Manic Street Preachers, to name but one. He totally gets the sound of KillerStar and how we are really blending, in many respects, the old and the new in terms of the way we record and sonically.
Your shows at the 100 Club have consistently sold out, and you’re returning there for the album launch. What does that venue represent to you as a band?
Well, it’s where we played our first gig as a band. It has a pretty incredible history and is, to this day, an independent venue. The atmosphere is incredible. We love that the fans can get up really close to the stage, and we feed off their energy.
There’s a strong emphasis on physical formats — vinyl in particular — at a time when streaming dominates. Why does that still matter to you?
Digital streaming has its advantages, of course, in terms of accessibility and reach, but nothing beats having a physical record in your hands — both in terms of the package (the artwork, liner notes, etc.) and the analogue nature of the sound, with the music pressed onto vinyl.
Finally, when listeners hear The Afterglow for the first time, what do you hope they take away from it emotionally, rather than musically?
We hope they can feel the positivity, joy and optimism. We hope they feel satisfied by the detail in the music, the lyrical themes and the energy of the performances.
