The band was formed in 2012 by Yuto Uchino (Vo./Gt./Synth.) and Kaoru Nakazawa (Ba./Synth.).

Yuto Uchino creates the band’ s music, handling songwriting, recording, mixing, and production. The silky and smooth voice with a distinctive floating sensation and mellow sound blend together to create a fantastic and dreamy music. The music style is based on indie and psychedelic pop, fused with soul, funk, and jazz, creating a soft and mellow sound that brings a sense of peace. Yuto’ s lyrics give power while accepting fear of growth and change, adding to the unique aesthetic of The fin.’s musical world.
They’ve taken the stage at numerous venues in the UK, US, Europe, and Asia, showcasing their talent at festivals like FUJI ROCK, Summer Sonic, SXSW, and The Great Escape. In particular, during their 2023 China tour, they staged shows in over 25 cities, drawing a cumulative audience exceeding 20,000 at their solo performances. They have also toured with numerous artists such as Phoenix, The Last Shadows Puppets, MEW, Circa Waves, Wild Nothing.

The fin. has released the 1st album “Days With Uncertainty” (2014), which was recorded, mixed, and produced by Yuto Uchino, the 2nd album “There” (2018), which welcomed Bradley Spence (Jamiroquai, Radiohead, alt-J) as a co-producer for the first time, the EP “Wash Away” (2019), which welcomed Bradley Spence and Jake Miller (Bjork, Arca) as co-producers, and the 3rd album “Outer Ego” (2021), which was entirely recorded, mixed, and produced by Yuto Uchino.

Starting with “Swans” in December 2023, they began shifting toward a new sonic direction. In 2024, they released “Towards the Sun” and “Alone in the Sky,” followed by “Echoes” in early 2025. In May 2025, they released “Nebula,” a hopeful Motown-soul inspired track that marks a new chapter. Their momentum continues with a sold-out two-night show in London and an appearance at THE GREAT ESCAPE, followed by a U.S. tour in July.

Free Whenever’s music sits somewhere in between form (saguna) and formlessness (nirguna).

The band’s guiding philosophy and approach to making music is rooted in the ancient practice of long-form improvisation. By submitting to the collective subconscious, raw feelings, sounds, and ideas emerge. Their self-recorded studio material is balanced and diverse. Hypnotic, conversational bass and guitar melodies float over a strong foundation of pulsating rhythms in a full synesthetic sound experience. Without allegiance to any one style they fuse vintage psychedelia, dub reggae, far eastern and African music, funk, soul, and more while their live shows blossom into areas that challenge the idea of what psychedelic music is. From their early days playing in the streets of Manhattan to headlining at premier NYC venues like Brooklyn Bowl or opening up for acts like Karina Rykman, Balthvs, and Tauk, the band has become a vital force in NYC and is bringing their vibes to other psychedelic music scenes across the United States and abroad.

Leon Tilbrook literally grew up on tour. The son of Squeeze frontman Glenn Tilbrook, Leon made his major festival debut at age five, accompanying his dad on bongos at Glastonbury. By the time he turned eleven he had shared the stage with Glenn in the U.K., U.S., and Japan; mastered pretty much any instrument that came to hand; and begun to develop a powerful voice all his own.

From there on in, everything fell into place like the elements of a finely crafted hit. Leon began writing his own material in 2012; underwent total immersion at the BRIT School (where he met the first members of his achingly talented backing band, Beautiful Landing) from 2017 to 2021; and put out his first EP in 2024. Throughout, he has been building a devoted following for his live shows in London (Notting Hill Arts Club; Half Moon Putney; Windmill, Brixton), New York (City Winery; Stephen Talkhouse), Nashville (Ryman Auditorium) and L.A. (Hotel Café).

On stage Leon blooms, with wit and charisma that make crowds fall in love at first song. His lyrical, layered tunes dig deep and wide into the past, referencing everything from indie rock and jazz to country and electronica. But the result is something entirely new: a signature brand of chamber pop that spans the emotional spectrum from infectious, sing-along enthusiasm to searching, honest introspection: “I can easily feel like the world’s about to end,” says Tilbrook, “when really I just need a slap in the face. The best way I’ve found to cope with that is to get it off my chest and into a song.