Oscillating from heart-rending to headbanging, Help(2) delivers quality while allowing each artist to weave their own sound into a varied yet cohesive tapestry.

By Niall Martin | Mar 24 2026

The collaborative charity project from War Child Records brings together some of the biggest names in music from Ireland, the UK and across the globe to raise funds for children affected by war. War Child provides emergency support to children in Palestine, Afghanistan, Lebanon and other countries suffering as a result of conflict. 

With contributions from global superstars, britpop stalwarts, and the indie/alternative darlings of today, Help(2) instantly appeals to a broad range of fanbases. Go find yourself any Doc Marten-wearing, rollie-smoking, Beamish-drinking Drury Street denizen. Ask them their favourite artist. Odds are they feature here. 

Alex Turner opens the record with the aptly named Opening Night. “Popular slogans and a bucket of paint”, he croons, launching the 86-minute collection with a track that reflects on protest, emotion and awareness. For fans of Arctic Monkeys’ newer sound, it’s sure to hit home, but regardless of personal taste it introduces the thematic material of the album well. 

Opening Night flows smoothly into Flags, a collaborative work by Damon Albarn (Blur, Gorillaz), Grian Chatten (Fontaines D.C.) and Kae Tempest (you thought there would be a band here but no, it’s just himself). Musing on youth and backed by a children’s choir, Flags might best embody the album’s ultimate goal, to bring light into young people’s lives.

One, two skip a few (definitely skipping King Krule’s 343 Loop, no further comment), we land on Depeche Mode’s cover of anti-war classic Universal Soldier. This is the folk protest song as you have never heard it before. Maybe you’ve never heard it before at all. Oh well. It’s a little more prosaic than most of the tracks but no less potent. Want to bop to resounding bass and accusations of personal responsibility for atrocities? If so, I have great news. If you’re less of a bopper and more a sobber then fear not. beabadoobee covers Elliot Smith’s Say Yes and, immediately after, Adrianne Lenker leads Big Thief through the existential and looping Relive, Redie.

Fontaines D.C cover of Black Boys on Mopeds nods to Sinéad O’Connor’s contribution to Help (1995) while Cameron Winter also seems keen on acknowledging important people, though in a decidedly different way. In Warning, he asks the wrongdoers and warmongers of the world “who’s gonna forgive you?” over an unsettling string arrangement along with vague allusions to red hot pokers for unrepenters. Sounds fun! Winter tests the limits of the protest song here but the result is one of the most memorable tracks Help(2) has to offer. 

Next up is personal favourite, Begging for Change. I’m begging for more. Pulp’s electrifying anthem injects energy into the record. A stirring call to action that refreshes the listener after a series of more introspective tracks. With the children’s choir and main artists from Flags on backing vocals, Begging for Change packs a punch. Beautiful vocals hardly seem noteworthy across an album where each artist is stronger than the last, but the haunting harmonies and overlapping layers on Sunday Light might be a cut above the rest. Is this an excuse to mention that Irish indie-folk artist Dove Ellis is one of the track's vocalists? Yes. But I stand by every word of it, Anna Calvi (lyricist and composer) and co. build throughout the song to a haunting crescendo that stands out for its rawness. 

Olivia Rodrigo closes the album with a conciliatory rendition of The Book of Love, a softly optimistic way to end a tumultuous hour and a half. Unless, that is, you happen to be listening on CD or vinyl. For unknown reasons, War Child Records chose to punish their supporters with a live recording of Oasis’ Acquiesce as a bonus track. An unfortunate decision to round out one of the best albums you’ll hear this year. 

You can support War Child by buying the album or donating directly through their website.