On the June 21 edition of Later… with Jools Holland, an unexpected pairing of styles contended for attention: a masked Canadian math-rock duo took a vivid turn toward theatrics, while country star Shania Twain offered a spare, nostalgic cover alongside the show’s host. The episode matters now because it pushed a niche band further into mainstream view just as they release a new record, and because Twain’s choice of material underlines how classic songs keep resurfacing in contemporary broadcasts.
The Canadian act, performing under the name Angine de Poitrine, delivered a tightly choreographed set for “Fabienk,” a track from their freshly released album Vol. II. Their stage presentation combined precise movement, microtonal guitar work and conspicuous polka-dot costumes — the kind of visual signature that can turn live TV minutes into viral moments.
Small details caught viewers’ eyes too: the group’s guitarist, identified as Khn de Poitrine, performed barefoot, while the drummer goes by Klek. Those quirks, along with the duo’s unconventional time signatures, underline why the band is becoming a talking point outside the usual math-rock circles.
Also on the bill were Arlo Parks and Sam Smith, but the evening’s most quietly striking moment came when Shania Twain stepped forward to sing Hank Williams’ 1949 standard “I’m So Lonesome I Could Cry.” Jools Holland accompanied her on piano, producing a restrained reading that emphasized the song’s lyricism rather than vocal showmanship.
- Angine de Poitrine — performed “Fabienk”; showcased material from Vol. II, their newly released full-length album.
- Shania Twain — covered Hank Williams’ “I’m So Lonesome I Could Cry” with piano accompaniment by Jools Holland.
- Other guests — Arlo Parks and Sam Smith also featured, adding pop and indie texture to the episode.
Why this performance is notable beyond a single broadcast: televised appearances on legacy programs like Later… still function as cultural accelerants. For Angine de Poitrine, an eccentric live slot on a respected music show can extend streaming reach, increase press attention, and translate directly into album interest for Vol. II. For established artists such as Twain, revisiting a country classic in a stripped-back setting reframes their catalog for audiences who may mainly know them from radio hits.
Reaction to the episode has already surfaced on social platforms, where clips and short-format highlights tend to do the heavy lifting in terms of discovery. For readers tracking emerging acts or watching how mainstream platforms curate cross-genre moments, the June 21 broadcast offers a compact case study: theatrical indie performance and countrified nostalgia can coexist on the same stage and both generate coverage.
Correction: An earlier mention of Vol. II mischaracterized it as an EP. It is a full-length album.
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