The launch of Oxford United's 2026/27 away kit brought together music, movement and performance in a campaign inspired by the city's performing arts scene. At its heart was a powerful orchestral reinterpretation of ‘What Went Down’ by Oxford-based artist project Mount St. Helen, led by multi-instrumentalist Aris Sabetai.
Featured in the cinematic campaign film, shot at New Theatre Oxford and performed alongside a specially choreographed ballet routine, the arrangement reimagined a song that has become synonymous with matchdays in OX4, providing the centrepiece of the launch.
Since launching in 2024, Mount St. Helen have built a reputation for blending shoegaze, alternative rock and orchestral influences, earning early recognition from Radiohead's management and attracting the attention of two-time Grammy Award-winning producer Adrian Bushby. Sabetai was joined in the campaign by bandmates Joe Smith and Ryan Taylor-Costin.
We caught up with Aris to discuss the inspiration behind the arrangement, the creative process behind the project and what it meant to soundtrack Oxford United's away kit launch.
Tell us a little about Mount St. Helen and how the project first came together.
I started the Mount St. Helen project in 2024 as an artist alias. I wanted a name for a project that itself was bringing together all the music that has shaped me so far: shoegaze, early emo and post-rock alongside string arrangements and 2010s alt-rock. Everything is written, self-produced and recorded by me at home.
Since then, Mount St. Helen has grown into its own, with intense live shows and a coherent black-and-white visual language. Early support from Radiohead's management helped put the project on the radar, and it has since caught the attention of two-time Grammy Award-winning producer Adrian Bushby (Muse, Foo Fighters). The debut EP, The Stillness, The Dancing, was released in June 2026 to critical acclaim, with Nightshift Magazine calling Mount St. Helen "the next big thing out of Oxford." Alongside the music, Mount St. Helen launched its first clothing line, theclassisnotimpressed, in January 2026.
On stage, I'm joined by my good friends and collaborators Francesco Reni (Guitar), Joe Smith (Bass), and Ryan Taylor-Costin (Drums).
What makes Oxford the right place for your music?
A large part of the Mount St. Helen sound is inspired by the 90s shoegaze scene and the alternative music that the Oxfordshire/Berkshire region has helped shape over the years. The guitar work of Chapterhouse, Ride, Swervedriver, and later Foals and Glass Animals all had a direct influence on the project. Not to mention the string work of Jonny Greenwood and Radiohead more generally, too.
Oxford is also an incredibly inspiring place to live and make art. As a city built around learning and new ideas, there's a creative energy that naturally feeds into what I do. Even the dark academia aesthetic of Mount St. Helen isn't too far removed from the 'sub fusc' tradition worn by Oxford students. If you combine that with a thriving local music scene and a great mix of grassroots venues and spaces that regularly host bigger touring artists, it's easy to see why Oxford feels like the perfect place to be stationed as a creative.
How has the city influenced your sound or songwriting?
Both "Nineteen" and "Helpless" from The Stillness, The Dancing were written as direct nods to Oxford's musical lineage. I think the spaces you live in naturally influence the music one makes - whether it's the creative atmosphere, the venues you're playing, or even the sound of the rooms you're recording in, your surroundings leave their mark.
Can you tell us about your experience being involved in Oxford United’s away kit campaign?
It’s been a genuinely special project to be a part of. The campaign’s cinematic aesthetic and concept were very close to the visual world Mount St. Helen already inhabits – indeed, the ballerina idea reminded me of the pictured dancer on the cover of The Stillness, The Dancing - so the whole thing felt incredibly native. It was inspiring to see how invested the Club was in bringing together music, movement, fashion and performance in an ambitious way and diversifying their approach to kit launches more generally
What did it mean to have the opportunity to rework Foals’ What Went Down? Can you talk us through the creative process of collaborating with the band?
Reworking What Went Down was both an honour and a really exciting challenge. It is such an intense and instantly recognisable song, especially as the walk-on track for the Club, so I felt very much responsible for finding a blend that honours the original while presenting the track in a new, Mount St. Helen way. Working alongside the Club and Foals’ team to achieve this balance was a pleasure and a highlight, for sure.
As a cellist first and foremost, showcasing the instrument integrated in a band setup is something I’ve wanted to try out for a while, so taking the opportunity to create a strings-centric arrangement was equally satisfying, and hearing Foals’ kind words on the final product was the cherry on top.
What do you love most about being part of Oxford's creative community?
The existence of one! Growing up in London, it was often hard to find that sense of connection because the city is so big. The idea of a local music scene was something I heard about in documentaries and biographies. Actually experiencing that kind of community has been a huge part of my development as an artist, and being surrounded by creative people, sharing ideas and seeing what everyone else is making pushes you to grow. It gives you the chance to try new things, figure out what works and gradually find your own voice. It's a really special thing.
Are there any places in Oxford that have played a big part in your journey as an artist?
Great question – there are a couple that come to mind. Mount St. Helen’s first public live show was at The Jericho Tavern, which deserves a mention, I feel. I ended up working there for a while, too, so the venue will always be close to my heart. Godstow Abbey in Port Meadow has been featured in many a photoshoot – as I’m sure it has for other artists too. Poolhouse Studio is where most of the post-production of the EP was done (I know it’s Witney-way, so this is a ’Shire mention). Working with in-house producer Tom Alford was a creative dream come true, too.
What's your favourite memory of performing in Oxford?
That’s a tough call - there are a fair few to choose from! The trajectory from playing the first Mount show in a college bar to headlining GloFest in Florence Park is quite an emotional one to look back on, and difficult to extrapolate one singular experience that stands out. A highlight performance would probably be the EP Release Show at the Bullingdon in June – it was our first sold-out show and really moving to see such support from both locals and people who travelled some distance to come see us play.
How has support from local people helped the project grow?
Mount St. Helen has grown because of the support of people in the local scene who have gone out of their way to recommend the project to others. Nightshift Magazine and OMS Magazine have both been incredibly supportive and so have Dave Gilyeat and Alex West at BBC Introducing Oxfordshire.
That support has led to real opportunities. Nightshift recommended us for Glofest, and BBC Introducing selected us to play this year’s Truck Festival. A lot of what we've achieved has come through word of mouth and people genuinely backing what we're doing. I'm really grateful to everyone who's helped the project grow.
If someone were visiting Oxford for the first time, where would you tell them to go to experience the city's music and culture?
Common Ground, hands down. One of the last standing bastions of the local scene and absolutely oozing with DIY culture. A coffee shop, communal arts space, thrift store and vinyl shop all under one roof. Simply the coolest.
Looking ahead, what are your hopes for both Mount St. Helen and the Oxford music scene?
For Mount St. Helen, I just want to keep building on what we've started. My goal is to keep improving as a songwriter, make the best music I can and share it with as many people as possible.
For the Oxford music scene, I hope it continues to thrive. Grassroots music is under pressure across the country, so it's more important than ever that local scenes keep going. Even though a lot of venues have closed, people haven't stopped making music; they've just found new places to put on shows and bring people together.
Oxford has always had a strong music community, and I've seen it adapt whenever things change. As some venues and opportunities disappear, new ones seem to take their place. I hope that spirit continues, because being open to new ideas is what will keep the scene alive.
And I have every confidence that it will.
You can follow Mount St. Helen on Instagram by clicking below.
Oxford United's 2026/27 Away Kit is now on sale and can be purchased online and in-store.
