jungle

JUNGLE are bringing Sunshine to summer – and entering their most confident era yet.

Following the unexpected global success of their 2023 album Volcano, the Brit-winning band return with a warmer, more organic fifth album, blending Brazilian rhythms, effortless grooves and nostalgia.

And the trio — Tom McFarland, Josh “J” Lloyd and regular contributor turned full-time member Lydia Kitto — might have called their fifth album Sunshine, but its warmth comes with a distinctly melancholic edge.

“It’s not about the weather or a season,” Lloyd explains. “It’s about relationships and distance and regret, and hope and longing for a better time.”

McFarland adds: “Everyone feels nostalgic about that summer when they were 16. Those emotional memories linger with us.

“Even the idea of memory is quite melancholic, because these great things happened, but they’ll never happen again.

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“You can recall them and remember how you felt, but that moment has gone.”

It’s day one of live rehearsals for Jungle when I join them at their studio in South West London.

Lloyd and Kitto have not long flown in from LA while dad-of-three McFarland is telling stories about his kids.

Despite the jet lag and the busy day ahead, the trio are as warm and easy-going as the title of their new album suggests.

Their new confidence follows the unexpected success of Volcano and its breakout song, Back On 74, in particular.

“That song was a big surprise,” says McFarland with a smile. “It went far bigger than we expected.

“We thought there was a certain level we could reach, but what happened with Back On 74 opened up a whole new dimension for the band.

“It brought so many more people to the music, and that has been a really cool thing to see.

“When we were in the middle of it, we didn’t pay too much attention. We don’t chase our own tails wondering whether we’re popular.

“You give the song away and hand it over to the public.

“The more you listen to the noise, the more you start to be directed by it.

“We were very keen not to think, ‘People like Back On 74, so let’s make a whole album like that’, because that’s where bands lose their way.”

Dance and striking visuals have always been central to Jungle’s story, with their cinematic, intricately choreographed videos becoming as distinctive as the music itself.

Their dazzling performance of Back On 74, which brought the celebrated video to life with a full dance troupe, was one of the highlights of the 2024 Brit Awards.

Their Group Of The Year win that night came as a genuine surprise, and Kitto says: “We didn’t have a clue.

“Loads of people were acting a bit fishy, so we were thinking, ‘Have we won? Haven’t we?’

“We thought we should probably write a speech just in case, but then decided there was no way we were going to win.

“So we sat down, had a bit of a drink and suddenly we’d won.”

McFarland adds: “We had a great night — we met Green Day, we got quite drunk and had a party.

“When you’re touring, you miss out on so many things, so being able to get family and friends in the same room and just have a dance was special.”

Lloyd adds: “Winning was a surprise as we don’t really pay that much attention to it.”

Jungle’s visual influence has proved equally powerful.

“What’s been really nice is seeing people make the choreography their own and connect with the visual side of the band,” says Lloyd.

“We’re obviously not a TikTok-generation band, but watching it blow up online was really cool.

“Seeing young kids dancing to our music in their living rooms was such a lovely thing.”

Lloyd co-directs the band’s distinctive, intricately choreographed videos with long-term visual collaborator Charlie Di Placido.

He adds: “You can see people, especially in advertising, starting to copy the band’s aesthetic.

“We’ve seen plenty of imitations of our videos and visual style, but I suppose we take it as a form of flattery. It shows that people have been inspired by what we do.”

Carry On was chosen by the band’s manager as the first single from Sunshine.

Lloyd says: “Once you’ve finished an album, you lose all perspective. You have so many different favourites, so you need an outside opinion to guide you through that final stage.

“Carry On has an old-school Motown, almost Sixties sound.

“It’s almost Jungle’s folk song, but it has a sadder emotional heart.

“Back On 74 is nostalgic, while Carry On is about overcoming heartbreak, rebuilding trust and finding the self-belief to push through difficult times.”

McFarland says affectionately: “My daughter loves this song — she walks around the kitchen singing it.”

Central to Jungle’s recent evolution has been Kitto, whose gorgeous, soulful vocals have become increasingly prominent across their music.

Having contributed to the band since their 2021 album Loving In Stereo and taken a leading role on Volcano, she is now an official member of the trio and steps further into the spotlight on Sunshine.

“Joining the band fully made sense,” she says. “I already felt so involved that I was sort of in Jungle anyway, so it was a natural progression.

“It’s like getting into a relationship with somebody — you hang out for a while and then think, ‘Oh yeah, this works’.” Lloyd — Kitto’s partner and her bandmate in music side project Loaded Honey — adds: “I don’t think people realise how long Lydia has been working with us.

“We’d been doing sessions and writing with her since before the third album, and then she joined the live band.

“Jungle had been built around group vocals for so long, but we were yearning for an emotional lead vocalist who could take these verses and connect with people.

“Lydia has that ability. She’s got a generational voice — an amazing soul vocal that takes our music to the next level.”

McFarland says: “We’ve always tried to create a universal message through the stories we tell.

“We were never going to be a band that told extremely personal stories.

“For us, it’s about giving people something they can hold on to and make their own. We want the music to have a global sound

that anybody can connect with. From day one, when we were making the first Jungle music, it was all about visiting imagined places we’d never been to.

“We’ve been lucky enough to visit many of them since, but at the start we’d ask, ‘What would it sound like if a band were playing on Cola Beach in South Goa?’

“We’ve always had that vision of putting ourselves — and therefore the listener — into a physical space.

“The Wave is a perfect example of that. You’re instantly on a beach.”

Lloyd adds: “We tend to see certain songs as brothers and sisters.

“The Wave harks back to Loving In Stereo and has something of Beat 54 from the second album in it.

“It has that sampled feel, although we created the sample ourselves. Originally it was much faster, before we slowed it down.

“It was actually the last song made for the album and was almost squeezed in at the end. There was something spiritual about it.

“The Wave represents the idea that you only get one life, so you have to be careful what you do with it.”

Romeo II is another one of those sibling songs, following Romeo from Loving In Stereo and again featuring Dreamville rapper Bas.

Lloyd says: “Romeo II was Bas’s idea. The track originally had a much longer title, but we wanted something more interesting.

“He suggested Romeo II, which felt great because it creates a sense of nostalgia for people who know the original.

“I think he was also referencing the tradition in hip-hop of songs having sequels.

“It gives the track an instant familiarity — people think, ‘I remember that Bas song from the third album, so I want to hear this one’.

“In some ways, Romeo II is actually even more Romeo in its subject matter than the original.”

And he jokes: “Bas has been on the last three albums — he’s going to join the band at some point.”

Lloyd continues: “We have always been inspired by Gorillaz and the way their collaborators became part of the family.

“You look at Del the Funky Homosapien on that first Gorillaz record and he appears across a couple of tracks. We’ve never viewed features as a way of gaming the system or chasing streams.

“For us, it’s always been about asking who’s good, who’s our friend and who feels like they genuinely belong within the collective.”

Talk turns to bands who put out greatest-hits albums.

Kitto says: “We could just do the same thing again and again and call it a greatest hits, like The 1975 do. They put out all their old songs and call it The 1975 At Their Very Best. There are no new songs at all.”

Jungle’s recent single Someday, Somewhere might just be the best song they have released, with its sun-soaked vocals, irresistible disco-funk groove and bittersweet blend of optimism and longing.

“I love that song,” says Kitto. “I can put it on at any point, and it changes your mood.”

For McFarland, Reflection is a favourite. “I love that song,” he says. “What I connect with is the way a song can transport you. When I’m driving in the sunshine, I’ll listen to Crosby, Stills and Nash radio and classic Laurel Canyon songs.

“Reflection does that for me. It takes me very vividly into a particular physical and emotional space.”

Lloyd says: “It depends on the day. We become very emotionally attached to the songs while we’re making and delivering them, but once they’re out, I tend to detach myself.

“Where Are You Now? was one of my favourites. I like the bouncier side of Jungle, but I also tend to choose the song that other people aren’t picking.

“If everyone likes one track, I’ll go for the other one.”

Soon it’s back to rehearsals for the trio’s world tour, beginning in the States next month, then heading to Europe and South America next year.

What matters most in a Jungle live show?

“The arc of the show is really important to us,” answers McFarland. “We want to build the audience up, pull things back again and create intimate moments alongside the more euphoric ones.

“I don’t think I’d ever get bored of playing Busy Earnin’ because it’s so much fun watching people have a great time.

“You see grandparents, their children and then their grandchildren, sometimes as young as six, all there together. It’s fun watching loads of people having a great time.”

Lloyd adds: “We want to be in control and make things according to our own vision.

“We’ve done well within the industry by not having to play by other people’s rules.

“Other artists have looked at what we’ve done and built careers from it.

“But we’ve only ever written our own narrative, and I think that’s really important as an artist to have the ability to fully be in control of your own story.”

• The album Sunshine is out on August 14. The band’s UK tour begins in Leeds in November.

JUNGLE

Sunshine

★★★★☆

THIS may sound strange, but as we finished our first circuit around Yorkshire Wildlife Park, I was pleased we hadn’t seen all the animals who call this place home.

We hadn’t spotted them all because the amazing beasts — including giraffes, rhinos, zebras, lions, tigers, polar bears and wallabies — live in huge, free-roaming enclosures.

They have areas to play, relax, eat and sleep instead of being squashed in small cages just so humans can instantly peer at them.

The humans on my trip included my son Alex and his friends Jack and Finn, together with their mum Laura. They travelled from London and we went from Manchester, meeting at the park in Auckley, Doncaster.

Even though our visit to the 175- acre adventure park was in February we were lucky with the weather and by the end of our day we were lucky with the animals we saw, too.

It takes about 90 minutes to walk the 3km circular route, and once you’ve done it the first time, you can do it all over again.

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As we passed by the 30 life-size dinosaur models and then watched sea lions, the boys used the park’s app to decide which animals they wanted to see.

For Alex, it was the six polar bears. They live in ten acres, with grassy plains, rocky beaches, water pools and shaded caves, but thankfully seemed to love being near visitors.

One gigantic bear dipped in the pool and had a kickabout with a football right in front of us.

Finn chose the red pandas. Visitors can book 30-minute experiences with several of the animals, including the red panda, and feed them.

But Finn was thrilled just to see the “real-life Kung Fu Panda”.
Jack’s wish was to see the tigers.

As we headed there, we first saw monkeys swinging through trees and playing, which the boys loved. Then we stopped at Leopard Heights, which has a large elevated viewing platform plus ground-level glass wall to see the big cats play on their huge wooden climbing frames.

But as big cats go, they weren’t as majestic as the lions who sprawled out on rocks, seemingly oblivious to everyone gazing at their splendour.

Throughout the park, signs explain each animal’s back story. There is a big focus on environmental projects and it was lovely to read how the lions had been rescued from dangerous situations, including from Ukraine.

The Amur tigers were a highlight. One wandered right past us making moaning noises, which apparently indicated contentment. But as one man behind me rightly commented: “You wouldn’t want to hear that on a dark night, would you?”

There are several picnic spots here, too. One is sensibly inside and next time I visit I’ll shove a sandwich or two in a backpack.

But we weren’t that organised so had lunch at the Safari Cafe. Two very decent coffees for the adults, plus sandwiches and quiche with salad, and three portions of nuggets, chips, beans and apple juices for the kids came to £45 which, for a tourist spot, didn’t seem like bad value.

There are also many play areas and the boys loved the Jungle lookout, climbing through wooden tree forts, over obstacle courses and down slides as us adults had a catch-up.

Finally we returned to the Yorkshire Hive — a hub at the centre of the park with a beauty salon, shops, cafes and fitness centre plus hotel the Hex, where we were staying.

After dumping our bags, we went to Evolution Experience Restaurant where there were more roaring dinosaurs, illuminated dragons, smoke effects, crayons and colouring sheets for the boys.

They each had home-made pizza, apple juice and organic fruit lollies for £10 while we had ribs for £12 with a decent sauvignon blanc and prosecco.

The hotel ticked a lot of boxes — bunk beds and giant bean bags for the boys to sit on and watch Netflix plus black-out blinds, Temple Spa bathroom products, fresh coffee sachets and the cutest packets of mini Jammie Dodgers I’ve ever seen.

But without doubt the best bit of that room was two oblong windows in the walls — one at kids’ level and one at adult height — giving a bird’s eye view over the park.

We watched the wolves prowling and then eating their breakfast. It was the highlight of our trip.

After we had our own breakfast — a full English buffet at the Wilds Cafe Bistro — the boys had a final run around at the large soft play centre, while we relaxed and chatted.

That’s what is so perfect about this place — they catered for the needs of the animals, the kids and us. And for me, that was the real winner.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Two of my favorite movies of the year so far are opening in Los Angeles today and they both benefit from being seen with a proper audience. You will find yourself surprised by what you are laughing at, curious about what other people are laughing at and then feel the air in the room collectively shift as both films take unexpected turns toward more genuine emotional moments.

The third feature directed by Olivia Wilde, “The Invite” is a biting look at modern relationships. Wilde stars as one half of a struggling couple, unhappily married to a character played by Seth Rogen. She invites over a couple from the apartment upstairs, played by Penélope Cruz and Edward Norton, and soon all sorts of feelings start flying around.

I reviewed for the paper, noting, “It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.”

Wilde will be making appearances around L.A. over the weekend, including at the Vista, where the movie is playing in 35mm.

Also opening this weekend is “Maddie’s Secret,” the debut feature as writer-director from comedian and actor John Early, who also stars as the title character, an aspiring L.A. food influencer battling bulimia. It is a truly astonishing performance, one that walks a difficult tightrope between sincerity and parody. Early will appear for Q&As around town this weekend.

I spoke to Early about the film when it played as part of the Los Angeles Festival of Movies about its unusual tone — somehow earnest, tender and very funny all at once. Joshua Rothkopf reviewed the film, which he calls the indie arrival of the year, comparing it to movies by John Waters, Todd Haynes and Douglas Sirk.

Jack meets the maestro

Jack Nicholson in the 1975 movie “The Passenger.”

(Sony Pictures Classics)

One movie I feel obligated to note whenever it plays it Michelangelo Antonioni’s “The Passenger.” Jack Nicholson stars as a disaffected journalist who assumes the identity of a dead man in an attempt to start over, only to find that his new life is even more complicated than his own. It is a powerful examination of middle-aged malaise that has Antonioni’s trademark mystery but, thanks to Nicholson, also has a directness that makes it accessible to wider audiences.

Nicholson made the film in between “Chinatown” and “One Flew Over the Cuckoo’s Nest,” at the height of his fame in the 1970s, a time when going to Europe and Africa to shoot a movie with an esoteric art-house filmmaker was a huge risk. He would personally purchase the rights to the film in the early 1980s and essentially treated it like owning an art object, very rarely allowing it to be shown publicly. It reentered circulation in 2005 with a rerelease but still has a certain air of rarity around it. The film will be showing at the New Beverly in 35mm on Saturday and Sunday.

Nicholson sat for an extended interview with The Times’ Patrick Goldstein around that 2005 reissue of the film, calling the production “the most vivid filmmaking adventure I’ve ever had.” He described his relationship to Antonioni by saying, “He’s been like a father figure to me. I worked with him because I wanted to be a film director and I thought I could learn from a master. He’s one of the few people I know that I ever really listened to.”

When the Italian filmmaker died in 2007, Nicholson got on the phone with us to say, “I don’t know how to put this: He’s just a maestro, and everybody loved him. … He was a man of joy and impeccable taste. His whole life was dedicated to modestly being a brilliant artist.”

Truffaut’s humanist warmth

Delphine Seyrig and Jean-Pierre Léaud in the movie “Stolen Kisses.”

(Janus Films)

Richard Linklater’s “Nouvelle Vague” last year didn’t exactly start a renewed wave of interest in the French New Wave of the 1960s, but then again, those movies never really went away. They’ve been inspirational to generations of film fans for more than 60 years now.

But one French director who has perhaps fallen out of favor slightly is François Truffaut. Long seen as one of the quintessential New Wave filmmakers, he has become taken for granted a little of late. Which is why it is exciting to see Brain Dead Studios showing his 1968 film “Stolen Kisses” in 35mm on Sunday.

The third in the series of films Truffaut returned to throughout his career, including his 1959 breakthrough “The 400 Blows,” the film again stars Jean-Pierre Léaud as Antoine Doinel, Truffaut’s alter ego through the stages of his life. Discharged from the army, Antoine drifts through a series of jobs. His real concern is juggling his busy love life, making the film something of a male-centered rom-com while capturing Truffaut’s warm, humanist worldview.

Rohmer’s caustic cynicism

Jean-Claude Brialy in the 1970 movie “Claire’s Knee.”

(Janus Films)

Conversely, a filmmaker of the French New Wave who has seen his stock rise during the last few years is Eric Rohmer, championed by Noah Baumbach among others. His more caustic view of the world may resonate better with more cynical modern audiences.

The American Cinematheque will begin showing Rohmer’s cycle of “Six Moral Tales” at the Los Feliz Theatre this weekend with a 35mm screening of “My Night at Maud’s” and continuing with other screenings through the end of July. Other films in the series include the sultry, summertime tale “La Collectionneuse,” the ethical dilemma of “Claire’s Knee” and the tale of infidelity “Love in the Afternoon.”

Writing about “Claire’s Knee” in 1971, Charles Champlin noted, “What redeems Rohmer’s films from a defeating sameness is the quite extraordinary charm, believability and complexity of his characters and his meticulous attention to detail and his refusal to go for gross events at the expense of the subtle shadings of human relationships.”

Honestly, if a trip to France isn’t happening for you this summer, this series makes for a not-bad substitute.

Reconsidering ’90s comedy

An image from the 2025 documentary “We Are Pat.”

(The Film Collaborative)

Fresh off its world premiere at the recent Tribeca Film Festival, Ro Haber’s documentary “We Are Pat” will screen at Vidiots on Sunday. Haber will be there along with comedians Julia Sweeney and Harper Steele and, for good measure, Alan Cumming.

“We Are Pat” examines the afterlife of Sweeney’s character from “Saturday Night Live,” a confusingly genderless person who no one can ever quite figure out how to engage with. The way Pat has been picked up by a new generation of genderfluid comedians shows how influence and inspiration can come from the unlikeliest of places, and also how comedic ideas can transform over time.

Ali in Africa

Muhammad Ali fights George Foreman in the 1996 documentary “When We Were Kings.”

(Gramercy Pictures)

Released in 1996, “When We Were Kings” depicts the 1974 boxing match in Zaire between Muhammad Ali and George Foreman known as “The Rumble in the Jungle.” Director Leon Gast was unable to complete the film at the time, so the footage languished for years until he got an assist from filmmaker Taylor Hackford in shooting contemporary interviews with the likes of Norman Mailer, George Plimpton and Spike Lee. “When We Were Kings” would go on to win the Academy Award for documentary feature. It will be screening at Vidiots on Saturday.

The core of the movie is watching the thrilling, inspiring footage of Ali training and interacting with the locals. As Kenneth Turan wrote in his original review, “Because a classic heavyweight championship fight, especially with these protagonists, epitomizes the drama inherent in sport, ‘When We Were Kings’ always compels our interest.”

New this week

• Amy Nicholson wasn’t crazy about “Supergirl,” but reserves praise for star Milly Alcock as the “one reason to see the film.”
• Johnny Knoxville and friends are back for another round of stunts and pranks in “Jackass: Best and Last.” Age has finally caught up with them, Amy Nicholson laments.
• It seems a little odd that a movie starring Angelina Jolie, “Couture,” is just sort of sneaking into theaters, but that’s movie business in 2026. We spoke to Jolie at last year’s Toronto International Film Festival about the film.