Hannah Trigwell is a rapidly rising Leeds-born and-based singer/songwriter and pop artist, who began as a local busker, performing covers and originals. In the late 00s, some of her peers encouraged to upload some of the covers she had been performing as part of her repertoire on to a then-new video platform — YouTube. The first video she posted went viral, and quickly amassed several million hits.

While citing Tegan and Sara, CHVRCHES, R&B and garage as influences on her work, last year’s critically applauded “Taboo,” a song about “loving someone or something you’re not supposed to love,” began a run of what may arguably be some of her most mature and self-assured material to date. Building upon a growing profile, Trigwell’s highly-anticipated solo debut, which will feature the attention-grabbing “We’re All Gonna Die” and “Attention” is slated for release next year. 

Interestingly, the album’s latest single, the Trigwell and Ben Matravers co-produced “Like U Used To” features the rapidly rising British pop artist’s sultry vocals over a slick and contemporary production consisting of tweeter and woofer rocking beats, wobbling yet propulsive bass lines, twinkling synth arpeggios and big, infectious hooks. And while being a rousing, crowd pleasing song that’s both radio and club friendly, the song finds it narrator looking back at the more turbulent and dramatic periods of a romantic relationship with rose-colored, nostalgia-tinged glasses. But at its core is a desperate longing for the furious passion of the relationship’s earliest days. 

“The track is inspired by a relationship that is going steady but there’s no drama anymore — it’s about missing that,” Trigwell explains in press notes. “I thought that could be an interesting thing to write about — it’s not your typical love story, it’s about somebody wanting more passion in their relationship, in whatever form that may come in.” 

The recently released video for “Like U Used To” employ the use of stop-action animation to capture the boredom and dissatisfaction of suburban domesticity before ending with the couple’s central couple, bitterly and violently fighting — and then passionately fooling around.