Search results for power

Recommended

At the beginning of the year, Sharon Osbourne – Ozzy’s wife and manager – revealed that they are planning “two more shows to say goodbye” before he fully retires from performing live.

“He won’t tour again but we are planning on doing two more shows to say goodbye as he feels like, ‘I have never said goodbye to my fans and I want to say goodbye’,” she told journalist Jane Moore (via Music News).

Sharon continued: “His voice is still absolutely perfect. And all the time he has been off he still does his singing lessons. Even if you don’t like his music, you can’t not like Ozzy.”

She reportedly hinted that the Prince Of Darkness, 75, would stage the pair of farewell concerts at the Villa Park football stadium in his home city of Birmingham.

Advertisement

Ozzy announced his retirement from touring last February, calling off his scheduled European and UK tour dates in the process. Later that month, however, he said he hoped to return to the stage at some point in the future.

He provided a health update last summer after cancelling his planned one-off headline slot at the Power Trip festival in Indio, California.

Back in November, Ozzy said he might have to “accept the fact” that a return to the stage may not be possible owing to his ongoing health issues, including Parkinson’s disease and a recovery from multiple surgeries.

In early January, Ozzy said he was currently going through a “slow recovery” process.

“I just came back from the doctor today and my blood clots are gone, everything’s back to normal,” he explained on The Osbournes Podcast. “I can bend my neck. I just gotta get my balance going now.”

He added: “I’m not seeing so many doctors anymore. I’m just seeing the Parkinson’s doctor but I’m not having surgery or anything. I had seven surgeries in five years.”

The operations stemmed from a fall in 2019 that dislodged multiple metal rods which were put in Ozzy’s body following a quad bike crash in 2003.

Recommended

Meanwhile, member Liz added: “Much like how the mood changes as a light switch goes on and off, we will stage two contrasting performances with the double lead tracks.”

Earlier today, Forbes released its annual 30 under 30 list, naming IVE in the sports and entertainment portion of the list. They are the only K-pop act to be included in this year’s list.

Elsewhere in K-pop, singer and rapper Zico said that he had “the chance to peek” at some of BLACKPINK member Jennie’s upcoming solo tracks while working on their recent collaborative single ‘Spot!’, sharing that there were “so many good [songs].”

“Everything about her is charming. From vocals and visuals to acting, as well as her sense of professionalism in bringing the song to fruition – it’s all these things combined,” he said of the singer.

Recommended

Keir Starmer, the party’s leader, vowed to place culture “at the core” of his government if he were to win the forthcoming general election. “It’s about helping every child find their voice, learn who they are and what they believe and tell their story in their own way,” he said (via Yahoo! News).

“That is the power of art in a nutshell.”

He also said Labour would broaden the curriculum to help all children study a creative subject or sport until the age of 16, and the party would work with museums and galleries to get more art into public spaces, while also promising a clampdown on ticket touts.

Class inequality has been a major talking point in the creative arts in the UK in recent years, with Garbage’s Shirley Manson recently telling NME that music is currently dominated by artists who are “independently wealthy”.

At 78, Corman remains tirelessly active. In the past four years alone he has produced over 20 movies for his straight-to-video enterprise and continues to be called upon by former employees to play cameos in their movies: most recently in Dante’s Looney Tunes: Back in Action, he’ll next be seen in Demme’s Manchurian Candidate remake. Here, though, the Godfather of American independent cinema graciously ushers Uncut into his busy schedule, to grade some of Corman University’s most illustrious alumni.

JACK NICHOLSON

Corman produced the film which gave Nicholson his first starring role, as the eponymous Cry Baby Killer (1957), then directed the actor’s  depraved breakthrough in The Little Shop Of Horrors (1960). Across the early 1960s, Nicholson developed into a key member of Corman’s stock company.

CORMAN: Little Shop Of Horrors was a comedy-horror, with the emphasis on comedy. Jack played a masochist in a dentist’s office who wanted to have his teeth drilled. He was very, very funny. The only problem was, the scene was supposed to end as a duel between Jack and the dentist, using a scalpel and a dentist’s drill and – I shot this picture in two days – on the first take, they knocked over the dentist’s chair, so I said, “Alright, the scene ends right there,” because we’d no time to repair the chair. I’d first encountered Jack through the acting classes Jeff Corey was running in LA. As a director, I had no experience or training. I had a degree in engineering, and felt able to learn the use of the camera, editing, all the technical aspects, but I didn’t know enough about acting, so I joined Jeff’s class to learn. Jeff was teaching the Method, which is based to a large extent on improvisation, and Jack was exceptionally good, really the best in the class. He had a unique ability to play a dramatic scene with great intensity and at the same time bring humour to it, without undercutting the drama. That’s very difficult, and very unusual – particularly when you consider Jack was only about 19. I think it’s one of the things that’s served him throughout his entire career. He’s always been a fine actor, and is simply getting better. He helped out behind the camera, too. I did a picture called The Terror (1962), with Boris Karloff and Jack, which I shot two days of on standing sets from The Raven (1962), with only part of a script written. Boris worked those two days, and Jack was going lead the rest of the picture, when the script was written. I had various people directing parts, Francis Coppola, Monte Hellman. The last day of shooting, there was nobody available, so Jack said, “Roger, every idiot in town has directed part of this, lemme direct the last day.” And the work he did was good. We stay vaguely in contact – I see all these people at parties and so forth. Jack, when he directed The Two Jakes (1990), offered me a role, but I had to be in Europe, so I was unable to do it.

FRANCIS FORD COPPOLA

Coppola cut his teeth recutting ’50s Russian sci-fi movies for Corman to redistribute Stateside; for his first effort, Battle Beyond The Sun (1963), he added a notorious new scene, involving monsters constructed to look like a huge penis and vagina. Corman subsequently produced Coppola’s directing debut, Dementia 13 (1962). Instigating a trend among Corman alumni, Coppola paid thanks by casting his mentor in a cameo in The Godfather Part II (1974).

Francis came straight out of UCLA film school. This was in the ’60s, and I had bought the American rights to some Russian science fiction films, which were very well made technically, but contained some really outrageous anti-American propaganda. So Francis’ job was to recut the films: dub them into English, cut out the anti-American elements. On Battle Beyond The Sun, I had told Francis I wanted an additional battle scene between monsters put in, and asked if there could be some erotic quality to it. Well, he went beyond anything kind of vaguely symbolic! He made it pretty blatant. We had to cut that back a little. Francis became my assistant after that, and went on to direct Dementia 13 for me. He was capable of doing just about any job there is on a film, and doing it well. For instance, we went to Europe to do The Young Racers (1962) with a very small crew, just followed the Grand Prix circuit, and on that, Francis was First Assistant Director, handled some of the sound, and also handled second unit camera on the racing days.  Both with him and Jack, I could recognise early on they had great abilities, and I expected them to do well. But I had no way of knowing they would do as well as they did. When he directed me in Godfather Part II, that was fine. When he cast the Senate Investigating Committee, of which I played a member, he used writers, directors and producers for all the various Senators, which was interesting. He talked to us, explained the scene, ran through the rehearsals, then left us to totally to our own during the takes. Which I think is a very nice thing for a director to do.

PETER BOGDANOVICH

A buff hoping to break into films, the future Last Picture Show director had recently arrived in Los Angeles and was working as a critic when Corman hired him to rewrite and help out on his biker classic, The Wild Angels. After Bogdanovich performed surgery on another Russian sci-fi epic – released as the self-explanatory Voyage To The Planet Of Prehistoric Women (1967) – Corman assigned him to direct his chilling debut, Targets (1968), based around preexisting footage of Boris Karloff.

I think almost all the good directors I’ve worked with have been very much in love with film. They all have a great knowledge of film history, but Peter and Marty Scorsese may have the greatest. Peter was still working as a critic when I first met him, in a screening somewhere. We began talking and were very friendly after the screening, and he came to work for me. On The Wild Angels, he was my assistant, and he directed some second unit. He didn’t get along, frankly, with the Hell’s Angels we hired for that film all that well; they clearly came from two totally different worlds. Then he wrote and directed Targets; I had a couple of days with Boris Karloff, as a result of a contractual obligation from a previous picture, and so Peter wrote Targets around Boris’ brief sequence. He had given me a number of ideas for the rest of the movie, which I had rejected. Then, when he came up with this idea – of juxtaposing the artificial horror of the motion picture screen, which Boris epitomised, with the actual horror of real life, a sniper in a drive-in theatre – I approved that. He worked out an outline, then he wrote the script which I approved, but in the actual shooting I left him totally alone. My approach changes from director to director, but, in general, when someone works for me, I talk mostly about the technical aspects and meaning of a film. The actual directorial style, I leave to the director. I feel I’ve made the choice of director, I have faith in that choice, and I must leave him free to do his film the way he sees it – providing he stays true to the thoughts he and I have discussed.  And that film’s concept of random violence in society is, if anything, actually more pertinent today, unfortunately, than when the film was made. 

PETER FONDA & DENNIS HOPPER

The Easy Rider duo first worked together on Corman’s Jack-Nicholson-scripted paean to LSD, The Trip. Prior to that, Fonda had already become a Corman icon as biker protagonist of The Wild Angels. Hopper, who had acted in new scenes in another of Corman’s Russian remix movies, Queen Of Blood (1966), was, not for the last time, on the comeback trail, after having been blackballed by the major studios following a legendary blow-up with Henry Hathaway on From Hell To Texas (1958).

I met Peter first. I think he was aware of the great fame and stature of his father and, to some extent was, as any son would, trying to establish his own persona. Of course on The Wild Angels I had a Fonda and a [Nancy] Sinatra, and that was two things; yes, partially to have those surnames on the posters, but also because they were both good actors and could play the roles. Peter Fonda got on a little bit better with the Hells Angles, because he was able to ride a motorcycle, and as a result could relate with them. And, as an actor, he worked with them, tried to help their performances. It was through Peter I met Dennis. They were friends, and after The Wild Angels, when I did The Trip, Peter suggested Dennis for a role. I think their friendship developed working together on that, and eventually led to Easy Rider; it was a friendship that became a friendship and also a business and artistic partnership. Dennis gave me no problems whatsoever. I had been told he had given problems to several directors and might be difficult. He was never difficult. I got along well with him, and have nothing but admiration both for his ability and work ethic. He shot some second unit for The Trip, his footage was very good, and that good work was one of the reasons I went along with the combination of Peter to produce and Dennis to direct Easy Rider; I was the original executive producer, but then it moved, for a variety of reasons, from [Corman’s regular studio] AIP to Columbia. You can almost chart a line from The Wild Angels to The Trip to Easy Rider, following the counterculture of the day. I thought Easy Rider was a good picture, and caught the spirit of youthful rebellion in the United States. I anticipated it being a success, but I didn’t realise how big it would be. The major studios were beginning to be aware for the power of the independent movement, and Easy Rider really shook them up, caused them to bring in a number of the independent film-makers.

ROBERT DE NIRO

The 26-year old De Niro had only acted in a couple of underground films by his friend Brian De Palma when Corman cast him as Shelley Winters’ youngest, glue-sniffing hoodlum son in Bloody Mama (1969). A loose adaptation of the life and crimes of Ma Barker, this Bonnie And Clyde cash-in ditched backwoods glamour for violence: just your everyday story of rape, incest, drugs and murder.

De Niro was and is just one of the most dedicated, most intense actors I have ever seen. We were going to be shooting in Arkansas, and De Niro went to Arkansas – on his own – a week or so before shooting, just hung around, wandering through small towns, picking up accents, learning how people moved, what their opinions were. He was a very, very intense actor, and it was clear, from the beginning, that he was brilliant. He played a junkie, and started losing weight to get into the character. I wouldn’t say starved himself, but… well, yes. I dunno how much weight he lost, but he definitely lost weight for that portion of the film. That level of commitment was somewhat out of the norm. But I understood what he was doing, and I approved of it, provided he didn’t damage his health, which he didn’t. But, yes, it was an intensity you will see in very few actors. 

MARTIN SCORSESE

Corman produced Scorsese’s first studio feature, the bloody depression ballad, Boxcar Bertha (1972), then came close to derailing cinema history when he agreed to back the young auteur’s next project, Mean Streets (1973), providing Scorsese rewrote it as a Blaxploitation flick. Scorsese turned the offer down, but was still granted use of Corman’s crew to shoot what would become his breakthrough.

I had seen a picture Marty had done in New York, an underground picture in black and white, I don’t even remember the title [Who’s That Knocking At My Door], and it was clear he was a brilliant young film-maker. He had never done a film in Hollywood, and I met him, I don’t remember exactly how, but we got along well. I had done *Bloody Mama*, about a rural woman gangster in the 1930s, and AIP wanted me to do a second one. I had just started my own company, New World, so I said I would produce, but didn’t want to direct, because I didn’t have the time. So I chose Marty to direct, and he did an exceptionally good job. But, at first, AIP did not like his work. Some junior executive or someone had seen the dailies and didn’t think Marty’s work was good. They wanted me to step in and replace him. I said I didn’t have the time, and also that they were wrong; I considered this work to be exceptionally good. Eventually,they agreed with me – and history has vindicated me! But, yes, it’s true I offered to back Mean Streets if he changed it to – well,  I dunno if it was a black exploitation, but my idea was that black films were doing very well, and I felt this type of film as a black film would be very successful. And, yes, in the long run, he was totally correct not to do it. 

You know, I’m still as enthused by the young people working for me; I have two young directors who have just finished two low-budget films: Brian Sechler, out of New York University film school, who’s done a picture about black amateur boxers, Rage And Discipline, and Henry Crum, who’s done a street-racing picture with a Hispanic background. These are two of the best young directors I’ve ever worked with… 

Recommended

In the same interview, Bambie went on to describe this year’s competition as “so hard and so horrible”, declaring: “fuck the EBU”.

“I don’t even care anymore. Fuck them. The thing that makes this is the contestants, the community behind it, the love and the power and the support of all of us is what is making change.”

Recently, the organisers doubled down on their choice, with the EBU saying: “I fully agree it is a family event and the great thing about this music competition is that it’s all about values. It’s about uniting onstage all of these young talents, these participants, and they do great. It’s about diversity and inclusion.

“But there are competition rules and you need to follow the competition rules and take decisions based on these competition rules. If you were to exclude Kan outside of these competition rules, that would have been a political decision, as such, which we cannot take.”

Recommended

The economic impact of losing 125 music venues means that artists have lost around 16 per cent of all opportunities to perform across the UK (around 30,000 shows) – as well a loss of around 4000 jobs in total. The Music Venue Trust also argued that there was a “very significant blockage” in the talent pipeline as a result – leading to the “concern about whether the UK is going to continue to bring up the exceptional talent that we’ve dominated the world with for the last seven decades.”

DCMS’ new report says that “given the urgency of the crisis, a voluntary levy on arena and stadium concert tickets would be the most feasible way to have an immediate impact, creating a support fund for venues, artists and promoters administered by a trust led by a sector umbrella body”.

The report said that the industry must also ensure that the levy cost is not passed on to music fans – with Enter Shikari proving that this can be done with their own system last year –  and that “if there is no agreement by September or if it fails to collect enough income to support the sector, the Government should step in an introduce a statutory levy”.

Advertisement

Beyond that, the DCMS committee’s report also called for VAT relief with a temporary cut based on venue capacity, with the Government undertaking analysis to assess the impact to inform future decisions.

“We are grateful to the many dedicated local venues who gave up their time to take part in our inquiry,” said Dame Caroline Dinenage MP, Chair of the Culture, Media and Sport Committee. “They delivered the message loud and clear that grassroots music venues are in crisis. The ongoing wave of closures is not just a disaster for music, performers and supporters in local communities up and down the country, but also puts at risk the entire live music ecosystem.

“If the grassroots, where musicians, technicians, tour managers and promoters hone their craft, are allowed to wither and die, the UK’s position as a music powerhouse faces a bleak future.”

She continued: “To stem the overwhelming ongoing tide of closures, we urgently need a levy on arena and stadium concert tickets to fund financial support for the sector, alongside a VAT cut to help get more shows into venues.

“While the current focus is on the many grassroots music venues falling silent, those working in the live music sector across the board are also under extraordinary strain. It is time that the Government brought together everyone with a stake in the industry’s success, including music fans, to address the long-term challenges and ensure live music can thrive into the future.”

The report recommends that the Government and Arts Council make it easier for the live music sector to apply for public funding (with more than 80 per cent reportedly currently awarded to opera and classical music) and for stakeholders across the industry to continue to support the Featured Artists’ Coalition’s campaign for venues and promoters to stop taking  a punitive cut of artists’ merchandise fees.

Having made an impassioned plea at a government hearing into the call for a levy earlier this year, Lily Fontaine of rising Leeds band English Teacher – just released their acclaimed top 10 album ‘This Could Be Texas‘ – told NME of her joy at the DCMS’ call for a long-term response to help artists survive and thrive.

“It’s a relief that the enquiry has resulted in recognition at a governmental level that not only is the music industry ecosystem is in crisis, but that saving it and bettering it is important,” she said.

“Struggling to make ends meet as an artist isn’t a new concept – but that doesn’t mean it’s right. I’m looking forward to seeing how, when implemented, the ticket levy will be delivered to the grassroots venues and scenes. There’s little to be proud of coming from this island sometimes, so it’s a relief we’re at least trying to save potentially our best and coolest cultural export.”

Music Venue Trust CEO Mark Davyd, meanwhile, also welcomed the findings.

“We want to thank the Committee MPs and the CMS team for their excellent work in understanding and considering these challenges, and the clear recommendations they have created to address them,” he told NME.

“These recommendations provide a clear pathway forward to a positive future for the UK’s Grassroots Music Venues, a set of actions that are deliverable, affordable, and will genuinely have a positive impact on live music in communities right across the country. We look forward to working with the music industry and with the government to deliver on these recommendations as swiftly as possible.

Davyd continued: “We would like to thank all the thousands of music fans that have supported our work across the last 10 years. It has taken much longer than any of us would have liked to get the positive change we all wanted to see, but we could not have achieved this fantastic outcome without your continued support for your local live music venue.”

David Martin, CEO, Featured Artists Coalition and Annabella Coldrick, Chief Executive, Music Managers Forum, issued a joint statement in which they “wholeheartedly endorsed all the Committee’s recommendations”.

“Most important is their recognition of the ‘cost of touring crisis’, and that the benefits of a ticket levy must flow down to artists, managers, and independent promoters – as well as to grassroots music venues,” they told NME. “The entire ecosystem needs support. While we still believe this mechanism should be mandatory, the clock is now ticking to get a process in place before September 2024.

“We are also delighted to see the Committee endorse the 100% Venues campaign, and hope this will trigger action from the UK’s largest live music venues to overhaul outdated practices on merchandise commissions. The sale of T-shirts, vinyl and other physical products represent a crucial income stream for artists. It is only fair that they should retain the bulk of that revenue.”

Michael Kill, CEO of the Night Time Industries Association, also supported the report to save venues, adding that “without adequate support, we risk not only the loss of these invaluable spaces but also the erosion of the entire music ecosystem” and urging the government to “act swiftly on these proposals to ensure the survival and prosperity of live music in the UK.”

“We stand ready to collaborate with policymakers, industry partners, and stakeholders to implement the necessary measures and secure a sustainable future for the night-time economy and the cultural heritage it represents,” he added.

The call for a levy made headlines recently when it was dismissed by the then-boss of the beleaguered Manchester Co-Op Live Arena. Gary Roden came under fire for saying that some smaller venues in the UK were only closing because they were “poorly run”. In response, the Music Venue Trust, told NME that they believed Roden’s comments were “disrespectful and disingenuous”, while also highlighting the irony of making such “ill-judged, unnecessary and misleading” remarks on the week that their own venue was forced to postpone their own launch numerous times, due to a spate of logistical problems.

However, the venue has now said it will meet with the Music Venue Trust to discuss the levy after it initially said it wouldn’t implement it.

This week also saw the announcement that The Ferret in Preston is the latest grassroots music venue to have been saved by the Music Venue Trust’s ‘Own Our Venues‘ scheme. The  initiative, set out as “the National Trust of music venues” was first announced in April last year, and it aims to secure the long-term futures of grassroots venues by bringing them into shared public ownership. This follows the scheme purchasing The Snug in Manchester last year.

This also comes after the recent announcement that Tunbridge Wells Forum has become the first venue in the country to introduce a grassroots ticket levy. US acts Alien Ant Farm and CKY have also opted to add a £1 ticket levy to their UK tours, following a move by Enter Shikari. Last year; the band shared details of a 2024 run of UK tour dates, where £1 from each ticket sold was donated to the Music Venue Trust – at no extra cost to fans.

Other companies have launched similar initiatives. Independent ticketing company Skiddle announced in October it would donate 50p of every ticket sold towards saving grassroots music venues, while taxi firm FREENOW pledged to donate £1 from every ride to the cause.

Ticketmaster have introduced a Music Venue Trust charity upsell option, enabling fans to make direct contributions to MVT when purchasing tickets. Halifax venue Piece Hall has also implemented a similar scheme.

What strikes you is the sheer variety of styles and textures that Keenan and Cargill were playing around with. It’s a shimmering patchwork of ideas and moments, some more realised than others, some beautiful, some stark, and in this sense, Spell Blanket follows on quite naturally from Berberian Sound Studio, itself a series of short film cues. Ranging in length from 30 seconds to close to four minutes, there’s enough potential material here for three or four albums, if only the demos could be worked on and completed – but that will never happen and, in any case, there’s a certain charm to the brevity and roughness of these recordings that fits Broadcast’s aesthetic. In just the first eight tracks, there’s spectral hymnal drone (“March Of The Fleas”), choral loops (“Greater Than Joy”) and flute-laced witch-folk (“Mother Plays Games”), followed by the fuzzy soft-focus psych of “Roses Red”, an irresistible minute of “Hip Bone To Hip Bone” and the heavy ritual groove of “Running Back To Me”. Elsewhere, we hear Keenan trying a technique on “Singing Game”, there’s a lush synth surge called “Dream Power”, and a killer cut titled “The Games You Play”. The whole thing is an abundance of riches that illustrates how versatile and special Broadcast could be.

Keenan’s poetic lyrics touch on memories of childhood, the natural and supernatural world, her body and her dreams, seeking comfort in the domestic – familiar subjects for her, but here, presented in a beautifully designed booklet by House, it all represents something quite moving and substantial, a testament to her unique vision. Phrases stand out: “Hairpin memories loose in wish water”; “Mondrian child let loose with the pen”; “One by one the clocks fall asleep”; “The trees full of new leaves offering green tears to the earth”; “Drink up your water, Mother, watch your daughter growing tall”.

This is where the heart is, in these first takes and early demos, when the sentiment is true and the feeling is pure. Of course, it’s all we’ve got at this point, all that’s left at the end of the story. Spell Blanket is a glimpse at what might have been. A memory of the future.

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.

Recommended

Addressing her recent stint as an actress – she’s due to star as Harley Quinn in Joker: Folie à Deux later this year – Gaga wrote to her fans: “Here’s the truth—no matter where life or my career has taken me, my time with you always is a path back to a very powerful part of myself. In a stadium filled with YOU it came to life.”

In March, Gaga said that she had been “writing some of my best music in as long as I can remember”. Prior to that, she teased that she was working on new music in a social media post earlier this month. The singer posted a story of audio waves on computer screen and layers of music, teasing that she’s been back in the studio working on new material.

The last time Gaga released music as a solo musician was with 2020’s ‘Chromatica‘, which NME praised in a four-star review: “Gaga has fully embraced creating a pure pop album. The record is littered with catchy choruses and glossy production – but it goes deeper than that.”

The singer also announced she will return to Vegas with a ‘Jazz & Piano’ residency, a series she first launched in 2019. Gaga’s stay will kick off in June this year, and will run until July. Dates are limited so take a look at when she’s playing below and get any remaining tickets here.

“This meant that the only way people could see it was bootlegs from the few BBC broadcasts, which tended to have very poor sound quality and really dark visuals. Not only was Let It Be misunderstood when it came out, when people did get the chance to see it, it looked shitty. Over the years that followed, I made videos with Wings and every so often I’d ask Paul about Let It Be. Paul would always say he’d like to see it come out, but nothing ever happened. Then after a while, every time he saw me there’d be a panicky look in his eyes.

“In the late 90s after Anthology, Apple made some in-house documentaries about the making of Let It Be. They wanted to do something but weren’t sure what. I was interviewed by Mark Lewisohn and it was so long ago I still had gelled hair. But the Beatles were all doing their own things and it never happened.

“Then Peter Jackson got involved. Apple said that Peter Jackson wanted to take a whack at re-editing the original footage and making a longer version of the movie. They were interested in how I’d feel about that, and worried I might throw a wobbly but I was thrilled. I had made this in 1969 and didn’t really want to go and look at it all myself. Peter and I had completely different briefs. When I made the film, I was planning to shoot a concert – the rehearsal footage was really meant to be a sort of trailer for the concert. Then when George left, part of his proviso when he came back was there should be no more talk about a TV special. He just wated to make an album. It suddenly became a different thing. We could have stopped filming after the concert idea was dropped but we kept going because I needed to figure out an ending for the movie and create something that could play in theatres. We eventually compromised with the rooftop concert.

“Peter had all this footage and spent three years working on it. He lost a year through Covid but that allowed him to make it for streaming rather than the cinema – so he made an eight-hour movie over three episodes. This was twice as long as Gone With The Wind. Get Back was amazing and won an Emmy but it was a different thing.

“While Peter was working on Get Back he was looking at the Let It Be footage and he was always very respectful. He’d ask questions, he’d send me clips and he’d ask about technical stuff and we’d talk about things I couldn’t do at the time. One example is the conversation between Paul and John about George round the table in the canteen. Back in 1969, there was tension brewing and Paul, John and I had lunch. I had a feeling something might come up so I put a mic in the flower pot. I left them and they had this conversation about George, but when I played it back later all I could hear was cutlery and plates clanging.

“Peter was able to isolate the conversation using his technology. He could also separate guitar and voice, which was really useful because guitar players are always strumming when they talk so you can’t hear anything. Pete sent me the audio clips of the Beatles talking without any of the other noises. He had developed this technology where we could hear these conversations for the first time.

“Peter has always liked Let It Be and seen it for what it is. He understands that Get Back and Let It Be are completely different movies, made for completely different reasons with different technology at different times for a different audience. He has been very effective at putting the idea of Let It Be out there. Paul and Ringo and the families of John and George were very happy with Get Back but Peter kept telling Apple that they needed to also release Let It Be.

“They figured they could restore the print. They were originally working off an old print but we wanted a more filmic look, so they worked on that while also working on Get It Back and helped to restore the print. Peter didn’t run off with my baby the way other directors with more ego might have done. He really was a collaborator. Peter and the Apple team have been very helpful. It looks and sounds great and now you can look at without the cloud that hung over the movie when it first came out.

“The film is about four men who loved each other but were no longer the Fab Four. They hadn’t performed for three years and were nearly in their 30s. They were looking at life differently to those glorious years when they changed the world. They were trying to work out what their expectations were. It was about four men growing up. That’s how I cut it. You see great affection, but you also see them staking out their own turf. It was a frustrating time for George in particular. He knew he was a great songwriter and was trying to figure out how to get his work looked at with more attention by John and Paul.

“The relationship between Get Back and Let It Be is unparalleled. There’s no equivalent to compare it with. And you can’t compare Let It Be with Get It Back. This is a film that hasn’t been seen by most people for 50 years so it’s totally out of a time capsule, while Peter could make Get It Back with 50 years of hindsight.

“Was it tempting to make a different edit? No, although I did think about it. But I felt I didn’t need to as Peter’s film covered a lot. I thought Let it Be should be seen for what it was when I made it. I wanted to just let it be.

“We originally had one edit that was 30 minutes longer that we screened for them on the day Neil Armstrong landed on the moon. I knew that was too long. There was repetition, longueurs. A lot of it was just footage of them rehearsing which is great but after a while it got a bit boring. I had to show them collaborating more. Because the Beatles weren’t on the road together, they weren’t writing together. You could see that when Paul is recording ‘Maxwell’s Silver Hammer’ and he just gave them the chords.

“In the first rough cut I had some of George leaving. We had Paul, John and Ringo talking without George. The Beatles themselves did not offer a lot of input during the edit but sometimes you would hear from another person what might work better, just occasionally. On this occasion, Neil Aspinall suggested we didn’t need the stuff without George as it was confusing for the viewer. They saw that The Beatles were very powerful as an entity and didn’t want to go into the stuff about George. That meant that in Let It Be there were always four Beatles. You have to realise that at the time, there was no real sense they were actually going to break up. We felt they might go and do solo projects – they were already starting to do that – but they would always come back as the Beatles, as it was such a powerful force.

“We showed the first cut and that evening I had dinner with Paul and Linda, John and Yoko and Pete Brown from Apple. We didn’t talk about the movie so my understanding was that they were very happy. We had a lovely evening, very civilised, then Pete Brown called a couple of days later and said he was wondering if there was too much John and Yoko in the film. I didn’t think there was – I had tried to keep John and Yoko in most of the shots as that was what it was like in the room. Pete said, “Let me put it like this, I have had three phone calls this morning from three different people all suggesting there is too much Yoko.” I knew what that meant. So I made the change.

“Generally, they interfered very little and when they did, I understand exactly why they wanted what they wanted. It always made sense and I was okay with it. The sequence of George and Paul arguing, which everybody thought was controversial, they never even blinked at – this was, for them, regular talk between musicians about a song. It happens. It’s a conversation about creativity. People took it for a sign that something was rotten but at the time, it didn’t seem that way.

“I am very proud of the concert footage. Coming up with the idea and then pulling it off. They were thrilled when they did it. They were so happy on that roof, even though it was so cold and windy. They were so happy to be playing together for an audience even though they couldn’t actually see them. And then you get the blue meanies coming up to stop the concert right at the end – what could be better?

“What is the right order to watch it in – Get Back or Let It Be? I have no idea. I was fascinated by the story that Peter was telling and had a lot of fond memories of some of the shots as I had taken them myself. He was able to explore the story about George that I had taken out. I was very touched by the way Peter always talked about Let It Be. He said it was a wonderful movie that had a bad rep and needed to be seen again. We weren’t in cahoots, he’s just been an advocate and he believes the two need to be seen together.

“Peter was dealing with different Beatles to me. I had all four of them at a difficult time in their lives, while he was working with Paul and Ringo, both around 80 with very different views of things back then. Now, Paul and Ringo were very excited about seeing all that old footage that Peter was able to use. They weren’t interested in that at all in 1969 and they might not even have watched Let It Be since it came out.

“Will they enjoy it? I think it’s a very valuable picture and I was always sad that it came off the market. People were always asking about it but lot of people who asked that question are now dead. This is a completely new audience. It does look pretty good now, and that will make a difference – it looks and it sounds great. I am fascinated to see how people receive it.”

Let It Be launches exclusively on Disney+ on May 8

Recommended

Gen V scored a four-star review upon its release last year, with Ali Shutler writing for NME: “Despite Marvel introducing enough teen superheroes to launch a Young Avengers and the success of Stranger Things, Wednesday and The Umbrella Academy, Gen V is confidently its own thing. It’s comfortable sitting in the shadow of The Boys for the time being and while the gory humour might feel familiar, this smart, sleek spin-off is never less than exciting.”

The British-American star won the award for Best Actor at the 2019 Bafta TV awards for his role in BBC Three drama Killed By My Debt. He was also known for the role Ambrose Spellman in Netflix’s The Chilling Adventures of Sabrina.

Perdomo studied law at university after leaving school and began his acting career in 2017 with a part in CBBC series, Hetty Feather.

Recommended

In the buildup to the 2024 edition, individual artists such as Olly Alexander have faced calls to boycott the event as well. Alexander, the UK’s entry this year, initially signed a statement last December calling Israel an “apartheid state” and accusing it of genocide.

However, after receiving an open letter from numerous queer artists and individuals to boycott Eurovision last March, a number of Eurovision performers – including Ireland’s Bambie Thug, Norway’s Gåte, Portugal’s Iolanda and Alexander himself – responded to the letter saying they “firmly believe in the unifying power of music”.

Shortly afterwards, Alexander confirmed he would not be boycotting Eurovision, adding: “I know some people will choose to boycott this year’s Eurovision and I understand and respect their decision.”

“As a participant I’ve taken a lot of time to deliberate over what to do and the options available to me,” he continued. “It is my current belief that removing myself from the contest wouldn’t bring us any closer to our shared goal.

Recommended

Last week, it was confirmed that Gary Roden, the boss of the new arena, had resigned following the plethora of issues.

Roden had come under fire in particular for his comments about grassroots music venues, arguing that some smaller venues in the UK are “poorly run” and dismissed calls for a £1 ticket levy on all gigs arena-sized and above.

In response, Mark Davyd, CEO of the Music Venue Trust, told NME that he believed Roden’s comments were “disrespectful and disingenuous”, while also highlighting the irony of making such “ill-judged, unnecessary and misleading” remarks on the week that their own venue was forced to postpone their own launch, due to a number of logistical problems.

Recommended

Any available tickets for the European and US dates can be found here. Check the full tour dates below.

The tour dates for Russ’ ‘It Was You All Along’ world tour are:

MAY
31 – Seattle, Washington – Climate Pledge Arena*

JUNE
2 – Oakland, California – Oakland Arena*
6 – Los Angeles, California – Kia Forum*
8 – PHOENIX Arizona – Footprint Center*
13 – DALLAS Texas – American Airlines Center*
15 – DENVER Colorado – Ball Arena*
21 – SAINT PAUL Minnesota – Xcel Energy Center*
23 – CHICAGO Illinois – United Center*
25 – TORONTO Ontario, Canada – Scotiabank Arena*
27 – NEW YORK New York – Barnes & Noble*
28 – BROOKLYN New York – Barclays Center*

SEPTEMBER
1 – Lisbon, Portugal – Coliseu
2 – Madrid, Spain – La Riviera
5 – Milan, Italy – Circolo Magnolia
6 – Zurich, Switzerland – Komplex 457
8 – Paris, France – L’Olympia
9 – Brussels, Belgium – Ancienne Belgique
13 – Budapest, Hungary – Akvarium Klub
14 – Warsaw, Poland – Palladium
16 – Prague, Czech Republic – SaSaZu
18 – Vienna, Austria – Gasometer

If the following year’s Dirty Deeds Done Dirt Cheap — the title an homage to a character in kids’ cartoon show Beany And Cecil — practically invents Beavis And Butt-Head, it’s 1978’s Powerage which best exemplifies their less-is-more approach. The purist’s ’DC album of choice, and tellingly Keith Richards’ favourite, it’s stripped to the bone sonically, Cliff Williams’ pump-action basslines the springboard for a tripwire-taut 40 minutes featuring some of their funkiest, and grimiest, grooves. If the hardwire-riffing is every bit as thrilling as the Chuck Berry records which inspired the Young brothers in the first place, Scott’s low-life snapshots of the drug-addicted and debt-ridden are as spiky as anything by the Sex Pistols or The Stranglers.

“Stirred the coffee with the same spoon,” laments the singer with a world-weary shrug on “Gone Shootin’”, the tale of a hopelessly drug-addicted girlfriend, while a brooding “Sin City” finds the singer using Las Vegas as a metaphor for the miserable lot of the working man in a world where the loaded dice of life are always rigged against him, dreams of “Lamborghinis, caviar, dry martinis” eternally out of reach.

It’s also on Powerage where the difference between ’DC and (most of) their late ’70s peers is most stark, their musical know-how never more evident than on “Riff Raff”. The song’s lyrical message (“Ain’t done nothin’ wrong/I’m just having fun”) might mirror, say, Jimmy Pursey of Sham 69’s happy-go-lucky worldview, but musically it’s in a different league, Scott’s sandpaper drawl set against an electrifying, five-minute fusion of prog-rock dexterity and punk fury, Angus’ molten solos a reminder that a scorched-earth policy always works best when you’re wearing devil’s horns.

These musical chops were, of course, utilised to their full potential on 1979’s imperious Highway To Hell. Scott would be dead just eight months after its release (official cause: acute alcohol poisoning after a visit to Camden club The Music Machine, now Koko), and 45 years on, its cheerful celebration of deviance, immorality and plain bad behaviour sounds as exhilarating as ever thanks to Mutt Lange’s super-slick production.

For most bands, the loss of a charismatic frontman invariably sounds the death-knell for their career. But by doubling down on their core values and recruiting affable former Geordie frontman Brian Johnson, the ultimate team player, for 1980’s epochal Back In Black, ’DC defied the odds once more, channelling their grief into the biggest-selling hard-rock album of all time.

Recorded sightings of this diabolic alchemy at full power have been all too rare since the brutalist bombast of 1981’s For Those About To Rock (We Salute You) – their third, and last, collaboration with Lange – and it doesn’t feel coincidental that these reissues skip over the creative trough beginning with 1983’s self-produced Flick Of The Switch and including 1985’s Fly On The Wall and 1988’s Blow Up Your Video.

It was by getting back to basics and allowing über-producer Brice Fairburn to helm 1990’s The Razor’s Edge that ’DC struck gold once more, the numbskull nirvana of “Thunderstruck” re-establishing them as global big-hitters, as illustrated on the following year’s Live double album, recorded at shows in the UK, Canada and Russia.

Rock’n’roll damnation? Far from it. Almost 25 years on, the same songs remain the bedrock of their live performances, and these albums the gold standard for all those who dare follow them.

Richards – surprisingly sedate this evening – seems more intently focussed on his instrument than anything else throughout the show. He got his solo spot on a rote “Little T & A”.

Pity poor bassist Darryl Jones – 30+ years of service to the Stones and yet still not an “official” member. Nevertheless, he gets a much-deserved spotlight with an extended deep bottom run on audience favourite “Miss You”. Jones locks in with drummer Steve Jordan, who brings a more muscular tone to the backbeat than his predecessor, Charlie Watts.

A couple of deeper cuts received an airing, including a frenetic “Rocks Off” from Exile On Main Street and – going back even further – the mid-‘60s pop vibe of “Out Of Time”, which Jagger says has never been played before on American soil.

As this was the opening date of the tour, of course, there are some things to iron out. Jagger mentions some Houston rehearsals (in between his Instagrammed visit to NASA’s Johnson Space Center and under a giant armadillo). There is also some confabbing amongst members onstage. The working-it-out tenativeness shows in a slightly draggy “Beast Of Burden”, while “Honky Tonk Women” feels surprisingly disjointed.

The set closer, predictably, is “(I Can’t Get No) Satisfaction”. While the Stones would likely have been stoned by the audience if it wasn’t included, it ended the evening on a high note inside the stadium. Though a better ending for future gigs might have just Jagger and Richards, alone on stools with harmonica and acoustic guitar, reprise Hackney Diamonds’ album closer “Rolling Stone Blues”: the Muddy Waters‘ number from which they took their name bringing it all back home.

In 2024, the Rolling Stones are alone among their ’60s contemporaries who continue to put on a rock ‘n’ roll circus at this scale. And as big tent shows go, this one hasn’t lost any of its magic to enthral and entertain.

Houston set-list:

Start Me Up
Get Off My Cloud
Rocks Off 
Out Of Time 
Angry
Beast Of Burden
Mess It Up
Tumbling Dice 
Can’t Always Get What You Want 
Little T&A
Sympathy For The Devil
Gimme Shelter
Honky Tonk Women 
Miss You
Paint It Black
Jumping Jack Flash

Encore:
Sweet Sounds Of Heaven 
(I Can’t Get No) Satisfaction 

Recommended

Connections answers for April 27

Finally, here are the answers for Connections #321 on Saturday, April 27.

• Yellow group: trust as real (accept, believe, buy, swallow)
• Green group: power issues (outage, short, spike, surge)
• Blue group: summary (abstract, brief, digest, outline)
• Purple group: name homophones (curt, hairy, kneel, wane)

You can check back for up-to-date hints and answers for each day’s Connections puzzle. If you get stuck elsewhere, we’ve also got answers for several other daily games – including Wordle, Framed, and Globle.

Recommended

Griff 2024 World Tour dates are: 

AUGUST
13 – Brisbane, Princess Theatre
15 – Sydney,  Enmore Theatre
17 – Melbourne, Northcote Theatre
19 – Auckland, Powerstation

SEPTEMBER
13 – Washington, 9:30 Club
16 – Philadelphia, Theatre of Living Arts
17 – New York, Terminal 5
20 – Boston, House of Blues
21 – Montreal, Beanfield Theatre
22 – Toronto, Danforth Music Hall
24 – Detroit, St Andrew’s Hall
26 – Chicago, The Vic Theatre
27 – Minneapolis, First Avenue, Mainroom
29 – Denver, Ogden Theatre
30 – Salt Lake City, The Depot

OCTOBER
2 – Vancouver, The Commodore Ballroom
3 – Seattle, Showbox SoDo
4 – Portland, Crystal Ballroom
6 – San Francisco, Regency Ballroom
7 – Los Angeles, The Wiltern
9 – San Diego, The Observatory North Park
10 – Tempe, The Van Buren

Recommended

Young said of the new album: “In the spirit it’s offered…made this for the Horse lovers. I can’t stop it. The horse is runnin’. What a ride we have. I don’t want to mess with the vibe. I am so happy to have this to share.”

They will tour North America between April 24 and May 23. Tickets are on sale here.

Neil Young and Crazy Horse last reunited in 2014, where they played London’s Hyde Park BST joined by The National, Tom Odell, Caitlin Rose, Phosphorescent and Flyte. Read everything that went down here.

Arguably this is all a useful corrective to the twisted pantomime versions the tabloids have studiously curated over the years. But turning this life and this talent into a product so inoffensive seems contrary to the very essence of Amy Winehouse.

Over the past decade, Gendron has established herself as an artist of immense craft and interpretive instinct. Her first album, 2014’s Not So Deep As A Well, set the poetry of Dorothy Parker to music and became a quiet cult hit. Her second, 2021’s Ma Délire, Songs Of Love, Lost And Found, saw her reinterpret and explore traditional material from Canadian folk tunes such as “Au Coeur de Ma Délire” and “Le Tueur de Femmes” to more familiar and long-storied songs such as “Go Away From My Window” and “Shenandoah” — alongside a couple of her own compositions.

Her voice is a curious thing, capable of moving from dark siltiness to startling clarity across a single line, giving the impression of something forever being heaved up from depth to light. Her musical approach is a similar dance of structure and dissemblage. “She’s spellbinding,” says Will Oldham, who took Gendron on tour last autumn. “I started listening to Ma Délire over and over and over again, then got Not So Deep As a Well. That was during a time when I had a group of songs that I was trying to polish with the intention of making Keeping Secrets Will Destroy You. I found that Myriam’s two records were things that I returned to for inspiration. For a powerful distilled intentional presentation of superficially simple arrangements of complex pieces of music. I can listen to her records all day, every day.”

In conversation Gendron is a measured presence. She speaks in English, with the occasional Quebecois twist to her sentences and when she touches on certain subjects her guarded air gives way suddenly — her face lighting up as she discusses the favourite of her seven guitars, say, or the freedom she finds in writing instrumental music “because words lock up meaning.”

For a couple of years, Gendron has spent the bulk of her days in her music room, slowly shifting from reinterpreting the words and compositions of others into the new terrain of her own songwriting. It has proved a strange and sometimes mystical process. “Sometimes I feel more like a witness to what I do,” is how she describes it. “It’s like you’re channeling something, you don’t really know what’s happening, and there it is.”

In this way, Gendron crafted the songs that make up her third album, Mayday. It is a stunning record, encompassing the loss of her mother amid a broader and more intangible sense of grief that she struggles now to articulate. “It was not only my mother, it was trying to be open to a more general sense of loss that anyone can relate to,” she says. “Everyone’s lost something. I think we all have this within ourselves. It’s like an original lost paradise story. The oldest story in the world. We all miss something, maybe it’s been there ever since we were born.”

As she speaks, my eye is drawn back to the posters on her wall, and to a work by the artist Catherine Ocelot, who Gendron recently commissioned to work on the merchandise for her forthcoming album. Gendron turns and looks at the picture for a moment. “It’s a beautiful drawing,” she says. “I just got it. It’s a woman crying into her plant. And the plant is huge.”

Read the full feature only in the latest edition of Uncut – in shops now and available to buy direct from us here

Mayday is released on May 10 via Thrill Jockey & Feeding Tube and can be pre-ordered here

Bowie had just met Gene Vincent when he recorded this demo at the home of an RCA executive in the US in February 1972, which might explain the retro feel of one of the Ziggy songs that took longest to get right.

“Sweet Head”

[Haddon Hall rehearsal]

An early version of the Ziggy outtake that was probably dropped from the running order due to the sexual references. Bowie also dropped “Velvet Goldmine” for similar reasons – and along with the use of American slang, it shows that he was actively courting the US market.

DISC 2

“I’m Waiting For The Man”

[BBC Radio session]

Bowie’s love of the Velvet Underground was profound and he regularly covered both “White Light/White Heat” and “I’m Waiting For The Man”. This outstanding version of the latter was recorded for John Peel’s Sounds Of The 70s on January 11, 1972 and boasts wild Ronson guitar.

“Five Years”

[BBC Radio session]

Recorded for Bob Harris on Sounds Of The 70s on January 18, this was one of the first times the band had played “Five Years” outside Trident. It was broadcast on February 7, introducing Ziggy Stardust’s scene-setting opener to the wider world.

DISC 3

“Moonage Daydream”

[BBC Radio session]

With the band halfway through their UK tour, Bowie was flying when he recorded this excellent Sounds Of The 70s session with John Peel in May 72. Augmented by Nicky Graham’s jabbing keyboard, it gives a sense of how powerful the band would have sounded in the small venues they were still playing.

“Rock N Roll Suicide”

[BBC Radio session]

This thrilling version of Ziggy Stardust’s dramatic finale was recorded at a Sounds Of The 70s session with Bob Harris on May 23. It was the last song Bowie recorded for the BBC until August 1991.

DISC 4

“Velvet Goldmine”

[Ziggy session out-take]

The cabaret-influenced “Velvet Goldmine” had been knocking about since the start of 1971 before it was finally dropped. The track eventually featured on the B-side of a reissue of “Space Oddity” in 1975.

“My Death”

[Live at Music Hall Boston]

A previously unreleased live favourite recorded at the Music Hall in Boston in October on the Ziggy tour, exquisitely performed and recorded for a proposed live album. Shortly after, Bowie would start to introduce songs for Aladdin Sane to the set list.

DISC 5

“Star”

[Ziggy session out-take]

This was one of the first songs recorded at Trident, and Bowie still hadn’t finalised the lyric, demonstrating that his editing and writing process continued until the moment he recorded the final vocal.

“I Can’t Explain”

[Trident Studio version]

Nobody is entirely sure why Bowie led the band through a rip-snorting cover of the Who classic during a recording session for “John, I’m Only Dancing”. Was he already thinking ahead to Pin Ups..?

Read the full feature only in the latest edition of Uncut – in shops now and available to buy direct from us here

Rock N Roll Star! is released by Parlophone Records on June 14 and can be pre-ordered here

The biggest hit from Billion Dollar Babies suggests Alice Cooper’s greatest target for scorn was themselves. “No More Mr Nice Guy” has been so thoroughly absorbed into classic rock radio that you might even forget that it’s by Alice Cooper – or that it’s really savvy and really funny. It’s about rebellion, but not the romanticised counterculture of the 1960s. Furnier saw a grimmer, lonelier angst in this new decade, and he also saw the ravaging effect of adolescent hormones on America’s youth. “No More Mr Nice Guy” is a wicked coming-of-age tale, with Furnier playing the part of a kid suddenly at odds with the adult world. That title phrase may be commonly used as a threat, but any menace Furnier represents is hollow: the song ends with the former Mr Nice Guy getting clocked by Reverend Smith.

Just months after Billion Dollar Babies, Alice Cooper released the strained Muscle Of Love, a too-quick follow-up that is best known for its bulky cardboard packaging. Furnier left the group and took their identity with him, legally changing his name to Alice Cooper before releasing his solo debut. This album, then, while cementing their status as hitmakers, represents the end of an era for Alice Cooper the band and the man, neither of which would reach this peak of weirdness again. Fifty years later, it’s lost none of its morbid magnetism.

EXTRAS: The ’73 live show shows the band in their true elements, but it was already included on the 2001 reissue. The single versions are new, but largely redundant. 5/10

All the same, this was an impressively rich and high-energy performance, a banquet of music from a spiky elder statesmen who remains rightly wary of embracing his national treasure status. Weller’s stylistic range may have broadened with age, but this roaring, ear-bashing show suggests he will not be mellowing any time soon.

Setlist – The Lighthouse, Poole, April 4, 2024

Rip The Pages Up
Nova
Cosmic Fringes
Soul Wandering
That Pleasure
All The Pictures On The Wall
Above The Clouds
Stanley Road
Glad Times
Village
Fat Pop
More
Hung Up
Shout To The Top!
Jumble Queen
Nothing
You Do Something To Me
That’s Entertainment
Wild Wood
Friday Street
Start!
Peacock Suit
————–
Headstart For Happiness
Amongst Butterflies
Old Father Tyme
Broken Stones
Mayfly
Rockets
————–
The Changingman

Holzman and Mohawk hired John Cale, her former Velvets colleague and another ex-lover, to arrange and play on The Marble Index, giving him only four days in a Los Angeles studio but free rein to surround Nico’s songs and the drone of her portable harmonium with all the instruments and effects that took his fancy. From the melting music box of the 59-second instrumental opener, “Prelude”, and the silvery dissonances of the following “Lawns Of Dawn”, the sound-pictures proceed to “Frozen Warnings”, where Cale’s layered violas sound as though their strings are being vibrated by a chill wind from the steppes, and “Evening Of Light”, in which his clanging bells and jagged bowed bass accentuate the imperturbability of Nico’s delivery.

There are two extra tracks on a limited seven-inch, both first heard on a 1991 reissue. The first is the gorgeous “Roses In The Snow”, a folk song from a different world, ebbing and flowing in some strange half-light. The second is “Nibelungen”, its title referencing a German epic poem from the 12th century. Here Nico’s voice is heard by itself, providing evidence in her tone, phrasing and vibrato of the expressive control she had acquired. Given that the original release of The Marble Index contained a mere 31 minutes of music, it’s mildly astonishing that room wasn’t found for these two exquisite tracks. But then Nico generally knew what she wanted, and the original eight-song album certainly conveys a sense of distilled perfection. Mohawk later claimed the credit for that, suggesting that he and the engineer had edited it down in the final mix to what he thought was enough for any listener to take on.

Its startlingly plain black and white cover, using a bleached-out Guy Webster portrait photograph in which the singer’s helmet of dark hair and emphatic cheekbones frame an expression of enigmatic challenge, could hardly have demonstrated a clearer break from her previous publicity shots. In itself it suggests a lack of compromise and the absence of a desire to ingratiate.

While happy to have it on his label alongside such other cutting-edge artists as Love, The Doors and Tim Buckley, Holzman showed no interest in a follow-up to an album that had sold only a handful of copies. For the next couple of years Nico drifted between New York, London and Paris, beginning intense relationships with the film director Philippe Garrel and with heroin, the latter influencing much of the rest of her life. But in 1970 the producer Joe Boyd, now working for Warner Brothers in Los Angeles after starting the careers of Fairport Convention, Nick Drake and others in the UK, persuaded his boss, Mo Ostin, to let him put Nico and Cale back together for a reprise.

The result was Desertshore, recorded in London: a more lyrical, less shocking album, but one full of Cale’s imagination as well as songs inspired by Brian Jones (“Janitor Of Lunacy”), Andy Warhol (“The Falconer”), her recently deceased mother (“Mütterlein”) and Ari Delon, her eight-year-old son (“My Only Child”). Ari himself is heard singing “Le Petit Chevalier”, from one of Garrel’s films. In a sign of Nico’s increasing skill and ambition, some of the songs even have second sections.

This time, Cale’s classical training is more in evidence. The medieval trumpets that decorate “Mütterlein” and “All That Is My Own” are the most startlingly vivid instrumental touch, contrasted by an angelic choir and a piano that rumbles like a bombing raid on the former and by what sounds like music for a Felliniesque carnival on the latter, which also features Nico’s soft-spoken recitative, a contrast with her powerful singing. “My Only Child” is performed mostly a cappella by Nico with a small choir. There is a stark pathos in the piano ballad “Afraid”, which contains the line – “you are beautiful and you are alone” – that provided the title for a recent biography by Jennifer Otter Bickerdike.

Like its immediate predecessor, Desertshore enjoyed negligible commercial success – certainly not enough to persuade Warner Brothers to offer her another album. Neither did it achieve the same critical status, although some listeners found it easier to appreciate, touched by the feelings of loss and regret that come through much more clearly than the emotions so opaquely expressed in The Marble Index.

There would be a final part of what turned out to be the Nico/Cale trilogy: The End, recorded for Island in 1974 and containing the version of The Doors’ title track with which she paid homage to Morrison, under whose influence, during their affair in 1967, she had begun to write the songs that refashioned her image, deepened her mystery and secured her legend. With The Marble Index and Desertshore, it forms a sequence unlike anything else in popular music, unclassifiable and inimitable but the inspiration for much that followed.

Recommended

[embedded content]

Meanwhile, Dunst recently revealed the “joke” nickname she was given by the crew on set on the original Spider-Man films in the ’00s.

In an interview with Variety, Dunst revealed she was routinely referred to as a “girly-girl” during the making of the films. She was 19 years old when the first film was released.

“It was a joke, but on Spider-Man, they would call me ‘girly-girl’ sometimes on the walkie-talkie,” she said. “‘We need girly-girl.’ But I never said anything like, ‘don’t call me that!’.”

Max released a trailer for the series in March – check it out above.

This isn’t the only spin-off show in the pipeline, with a series about Arkham Asylum also in development from The Staircase showrunner Antonio Campos.

In a four-star review of The Batman, NME wrote: “Director Matt Reeves has mixed up gritty mob drama with film-noir detective thriller – and thanks to Dano’s ultra-creepy villain, some psychological horror too. Most of the time it comes off brilliantly.”

THE BLACK KEYS MEET BECK: Two decades after they first met, ‘the Beck Keys’ finally get it together in the studio – and tell us all about it!

ST VINCENT: Annie Clark squares up to her demons on her sublime seventh LP

RICHARD THOMPSON: The magic of Big Pink, adventures in the Sahara and imaginary conversations with Sandy Denny

KAMASI WASHINGTON: The reigning king of jazz saxophone: still on a mission to soothe the soul

MYRIAM GENDRON: The enigmatic French-Canadian on her powerful reckoning with loss and grief

AN AUDIENCE WITH… VINI REILLY: The Durutti Column’s reclusive guitar genius on Tony Wilson, Morrissey and kickabouts with Pat Nevin

THE MAKING OF “STORY OF THE BLUES” BY WAH!: How Pete Wylie’s “drinking song” developed into a huge anthem: “When I have an idea, I have it in Cinemascope!”

ALBUM BY ALBUM WITH IRON & WINE: The man behind the stage name, South Carolina songwriter Sam Beam, reviews his back catalogue

MY LIFE IN MUSIC WITH NEIL FINN: Everywhere he goes, the Crowded House chief takes these records with him: “A song doesn’t have to follow a narrative…”

HAVE A COPY SENT STRAIGHT TO YOUR HOME

REVIEWED: Jessica Pratt, Michael Head, Ian Hunter, Vampire Weekend, Pearl Jam, Neil Young, Broadcast, AC/DC, Alice Coltrane, Sister Rosetta Tharp, Microdisney, Arthur Russell, Skip Spence, Echo & The Bunnymen, Air and more

PLUS: Radiohead; Rosanne Cash on Lou Reed; Brett Anderson’s death songbook; Caroline Coon’s punk photos; Alice Russell; introducing Mint Mile…

CLICK TO GET THE NEW UNCUT DELIVERED TO YOUR DOOR

Talking of Boyle… After noticing Murphy seething away in Disco Pigs, the director cast him as the complete opposite in his non-zombie horror: an almost silent everyman who wanders through the apocalypse on his own, mostly just being frightened and sad and lonely. 28 Days Later gave us plenty (running zombies, John Murphy’s post-rock score, a decent sequel) but its best gift was signalling the mainstream arrival of Murphy – delivering a tour de force that slow-builds from zero to (existential) hero.

[embedded content]

6. Shivering Soldier – Dunkirk (2017)

Murphy had already worked with Christopher Nolan four times when he took a tiny role in the director’s WWII opus. Unnamed, and barely on screen for 15 minutes, Murphy’s character in Dunkirk is still the soul of the film – playing a soldier with PTSD who loses his mind when he finds out the rescue boat is taking him back to the battlefield. Of all the vignettes in Dunkirk, it’s this one that feels like it could stand the strongest on its own – and Murphy’s shell-shocked soldier that best sums up all the horror and madness behind the famous heroics of the 1940 evacuation.

[embedded content]

5. Dr Jonathan Crane/Scarecrow – Batman Begins (2005)

Back to the early noughties – when a newly minted Hollywood career landed you a casting call for every new superhero movie going – Christopher Nolan originally tested Murphy for the role of Batman. It sounds daft now and it probably sounded daft then too, but Nolan offered Murphy the bad-guy instead, gifting the film its biggest secret weapon in the war against comic-book cliches. Batman Begins revolutionised the genre, but it wouldn’t have done so if Christian Bale was stuck fighting a hammy cartoon Scarecrow instead of Murphy’s calm, chilling, utterly charming Dr. Crane.

[embedded content]

4. Robert Fischer – Inception (2010)

Is this a small role? Or is Murphy actually in every scene? Here playing businessman Robert Fischer, Murphy’s mind becomes the setting of Nolan’s whole film: the mind that becomes a maze for a gang of dream-walking thieves to get lost in. Where most other actors would shrink under the weight of the visuals with so few lines to speak, Murphy proves himself here more than most – delivering a powerhouse performance in a mostly unspoken subconscious that carries everything that feels real and earned in the film.

[embedded content]

3. Damien O’Donovan – The Wind That Shakes The Barley (2006)

The conflict of the Irish War of Independence finds its way into the O’Donovan family in 1920, as Murphy’s doctor-turned-freedom fighter finds himself fighting his own brother. If there’s a pattern to be found across Murphy’s best performances it’s in the way he skilfully builds walls around his characters – only ever letting us peek through the cracks. What a masterstroke, then, to work with Ken Loach, a director who spent his whole career knocking those walls down. The result is heartbreaking: Murphy’s reserve clashing head-first into Loach’s authenticity to fuel something that feels genuinely real.

[embedded content]

2. Tommy Shelby – Peaky Blinders (2013-2022)

The role that launched a thousand shitty haircuts. As the lesser legacy of Steven Knight’s Brummie crime drama fades like a branded Primark t-shirt, the weight of the show itself remains as powerful as ever – with Murphy’s Tommy Shelby now safely joining the ranks of the all-time great on-screen gangsters. As cold-hearted and ruthless as he is secretly broken by his own past, Shelby’s razor-sharp stoicism hides as much of his real character as he possibly can. By the time most of it spills out over 36 episodes and six full seasons, most of us still don’t know whether we should have been rooting for him or not.

[embedded content]

1. J. Robert Oppenheimer – Oppenheimer (2023)

Forget the Oscar. Forget Barbie. Forget all the award-circuit stories about Murphy losing weight and studying physics and not knowing what a meme is. Strip away all the noise of Oppenheimer and you find something even more remarkable: a wordy, cerebral, three-hour drama that lives and dies not on a big IMAX explosion or even Christopher Nolan’s impeccable sense of storytelling – but on Murphy’s ability to show us a man crumpling under the weight of his own ambition. Nolan’s note on the character, that he was “dancing between the raindrops morally”, might just as well describe all of Murphy’s greatest performances, but here he gives his finest waltz. Christopher Nolan’s masterpiece, sure, but also Cillian Murphy’s.

[embedded content]

The film is expected to enter production in early 2025.

In celebration of their 50th anniversary as a band, AC/DC are set to release limited edition gold vinyl pressings of their entire album catalogue. Each of the limited edition albums come with an album-specific 12”x12” print featuring new AC/DC 50 artwork suitable for framing.

Elsewhere, the band recently announced a huge UK and European stadium tour for 2024 as well as a new drummer and bassist for said shows. The Australian rock legends will perform 21 dates in 10 countries this summer, which will mark their first tour in Europe for eight years.

This first season of the show will run to a total of 25 episodes, which are being split into two halves. The first half will consist of 12 episodes, meaning there are two left to premiere – on March 24 and March 31.

The remaining episodes are expected to air later this year. There’s no official word yet on whether it will return for a second season but judging by its popularity so far, it certainly looks likely.

Along with the anime, a live-action Korean drama adaptation and a spin-off webtoon titled Solo Leveling: Ragnarok are also in the works. The latter is expected to air later this year.

Which isn’t to say that they’re not above a little experiment. In the past Sheer Mag may have viewed the four-minute mark with the same wariness as the Ramones or Roger Bannister, but here we have “Mechanical Garden”, clocking in at an epic 5:55, comprising a ZZ Top boogie prelude, an orchestral interlude and some arpeggios that might have found a home on Rush’s Moving Pictures, before resolving into a disco strut worthy of Hall & Oates. What’s more it features guest shredding from Tuareg guitar master Mdou Moctar.

But the most intriguing departure on Playing Favourites might be the moments when they turn down the dial from 11 for a moment. “Tea On The Kettle” was apparently inspired by the band’s love of Essex post-psych mavericks the Cleaners From Venus. “Someday when we can find more than pennies and dimes, we’ll go somewhere gentle,” sings Tina with beguiling tenderness, like she’s dusting herself down after battling through another force 10 hurricane.  “Baby, with you by my side it’s a whole new ball game.” At times like this it feels like Sheer Mag are only just getting started.

Jain also hosts a monthly show on NTS radio and runs a label, both called Ghrunghru, which focus on new experimental electronic music emanating from the South Asian diaspora. “The reason I started writing this music is because I was feeling a lot of dissonance within myself around what I was doing so far from home,” she says. “That experience of taking multiple worlds of yours and putting them together is something that all immigrants have to do. Under The Lilac Sky helped me glue the different parts of me together.”

The ‘Power Up‘ tour – in support of their 2020 album of the same name – will kick off in the Veltins Arena in Gelsenkirchen, Germany on May 17, followed by dates in Spain, Austria, Switzerland and more.

The run also includes two dates at London’s Wembley Stadium on July 3 and 7, before they continue on to more mainland Europe dates. The tour will wrap up at Dublin’s Croke Park on August 17. You can visit here to purchase tickets for the UK dates and here for the EU dates.

In a four-star review of ‘Power Up’, NME wrote that the “Australian rock icons stick to their guns” on a “rollicking 17th album”, adding: “After 50 years in the game, the band don’t reinvent the wheel – when they basically created it, why would they? – but their timely comeback is a hell of a ride.”

Knopfler, meanwhile, recently released a re-recorded version of his song ‘Going Home’ for Teenage Cancer Trust, featuring Brian May, Bruce Springsteen, Tony Iommi, Eric Clapton and Ronnie Wood.

On the music front, Sumin says her hope for the year is to “release a full-length album”. She adds: “Obviously we are versatile artists so we can work on different genres as well, so whether it be a ballad or dance songs, we want to show our audience the full spectrum of genres that we can cover.”

STAYC’s remake of TWICE’s ‘Fancy’ is available to stream now on Spotify’s K-Pop ON! (온) playlist.

“We want [the Palestinian people] to experience justice, equality, self determination, independence, and all those other basic human rights that apparently are afforded to everybody else in the world. So that’s all we have to say. Thanks for the award. Free Palestine.”

Reacting to the news that the speech had initially been cut, CMAT posted on X/Twitter: “I believe it was incredibly disrespectful of @RTE2fm to cut @LankumDublin’s winning speech out of their broadcast, in which Ian spoke so eloquently about the genocide happening in Palestine right now. So here it is again- hopefully more people hear it.”

NME spoke to CMAT at the Brit Awards last weekend, where she was nominated for International Artist of the Year.

[embedded content]

She told us about how Kylie Minogue, who won the Brits Global Icon Award, inspired her as a child: “She is the love of my life and the most important woman. I do think we should have a religion dedicated to her,” she said. “She was omnipresent when I was growing up because I was five years old when the ‘Fever’ album came out.

“We didn’t really have any music that wasn’t the radio, I wasn’t exposed to any alternative music or anything until I was much older. So when I was exposed to the radio I think my brain really clung onto anything that was weird — and Kylie’s music is inherently quite alternative and quite strange.

She continued: “It’s structurally different, it doesn’t follow trends. Her music videos and visuals are so inspiring too because they’re so well thought out. So for me, she was just this beacon of weirdness. That’s the only way I can describe her.”

Oh and incase ur unsure, trans women are women, and queer and trans liberation is a feminist issue 🏳️‍⚧️ happy IWD to our trans sisters, we see u & stand in solidarity

— WITCH FEVER (@WITCHFEVER) March 8, 2024

Happy international women’s day. In celebration, I’m going to to take a nap. Byeeeee!

Ps: Leave trans women the heck alone! It’s their day too. pic.twitter.com/ZwJE5nCy2q

— The Blessed Madonna (@Blessed_Madonna) March 8, 2024

Independent Venues Week also took to X to “celebrate all the incredible women in the IVW team that support independent venues around the UK,” going on to share an article about the women helping to keep grassroots venues alive.

Similarly, Fabric revealed that it had launched “a brand new 14 mix series featuring some of the scene’s most formidable established and emerging talent,” with all mixes available to stream now.

Check out more responses from the music world below.

This International Women’s Day, we want to celebrate all the incredible women in the IVW team that support independent venues around the UK 💜

Have a read of this amazing article on the women keeping their venues alive that #inspireinclusion for all: https://t.co/YZKNNOMr12 pic.twitter.com/YtWNgwpaHr

— Independent Venue Week (@IVW_UK) March 8, 2024

Back for International Women's Day 2024 is a brand new 14 mix series featuring some of the scene's most formidable established and emerging talent.

All mixes are available to stream now via fabric’s Soundcloud.https://t.co/DFRFlf8p8a pic.twitter.com/X3Mg8Kj1LN

— fabric (@fabriclondon) March 8, 2024

Grateful for the women in my life. Being raised by women made me a man. Happy #InternationalWomensDay to all the inspiring, powerful women around the world. pic.twitter.com/FZ4GFjfc7u

— Pitbull (@pitbull) March 8, 2024

♀️🎶Happy #InternationalWomensDay

IWD is a powerful celebration that recognises the incredible achievements and resilience of women throughout history.

Women are dominating music, but what's happening behind the scenes?

➡️Read the full article: https://t.co/Jx0UUHaP5A pic.twitter.com/QqF6HcaIe6

— The FAC (@FeaturedArtists) March 8, 2024

ALL QUEENS
all day.. every day@BBC6Music
happy #IWD pic.twitter.com/GF8sL34ohN

— maryanne hobbs (@maryannehobbs) March 8, 2024

One part love, one part wild. Happy #InternationalWomensDay pic.twitter.com/R42ULvu4I8

— Def Leppard (@DefLeppard) March 8, 2024

Happy #InternationalWomensDay pic.twitter.com/Uj6jWKZnYu

— Kittie (@OFFICIALKITTIE) March 8, 2024

Others celebrating International Women’s Day are pop icons Madonna and Kylie Minogue, who joined forces on stage last night (March 7) to perform a live duet.

The moment took place at Madonna’s recent show at the Kia Forum in Los Angeles, where she took to the stage as part of her ongoing ‘Celebration’ tour. During the collaboration, the two sang both the Australian pop star’s 2001 hit ‘Can’t Get You Out Of My Head’ and Gloria Gaynor’s girl-power anthem ‘I Will Survive’.

On Underdressed At The Symphony, less is more. Less is everything. Restraint is crucial to these songs, not just in the band’s careful arrangements but in the way Webster emphasises expressiveness over vocal power. She is, in addition, a minimalist songwriter who uses as few words as possible to conjure emotions too messy or too contradictory or simply too painful to state outright. “I want to sleep in your arms but not kiss,” she confesses on “But Not Kiss”, an unusually uncommitted breakup song about getting close to an ex but not too close. Or, conversely, about pulling yourself away in increments, as though a gradual separation might spare you the pain. Rarely does overthinking a problem sound so inviting or so productive.

The Power Of The Heart: A Tribute To Lou Reed (CD/Digital)

1. Keith Richards – I’m Waiting for the Man
2. Maxim Ludwig & Angel Olsen – I Can’t Stand It
3. Rufus Wainwright – Perfect Day
4. Joan Jett and the Blackhearts – I’m So Free
5. Bobby Rush – Sally Can’t Dance
6. Rickie Lee Jones – Walk on the Wild Side
7. The Afghan Whigs – I Love You, Suzanne
8. Mary Gauthier – Coney Island Baby
9. Lucinda Williams – Legendary Hearts
10. Automatic – New Sensations
11. Rosanne Cash – Magician
12. Brogan Bentley – The Power of the Heart

Kacey Musgraves 2024 ‘Deeper Well tour’ dates are: 

APRIL
28 – Dublin, IE @ 3Olympia Theatre +

MAY
1 – Amsterdam, NL @ Paradiso +
3 – Brussels, BE@ Ancienne Belgique +
5 – Cologne, DE @ Carlswerk Victoria +
6 – Hamburg, DE @ DOCKS +
9 – Glasgow, UK @ 02 Academy Glasgow +
11 – Manchester, UK @ 02 Apollo Manchester +
13 – Wolverhampton, UK @ The Civic at The Halls +
14 – London, UK @ Roundhouse +

SEPTEMBER
4 – State College, PA @ Bryce Jordan Center *
6 – Boston, MA @ TD Garden *
7 – Boston, MA @ TD Garden *
9 – Newark, NJ @ Prudential Center *
11 – Grand Rapids, MI @ Van Andel Arena *
12 – Rosemont, IL @ Allstate Arena *
15 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre *
19 – Vancouver, BC @ Rogers Arena *
20 – Seattle, WA @ Climate Pledge Arena *
23 – Sacramento, CA @ Golden 1 Center *
24 – San Francisco, CA @ Chase Center *
27 – Glendale, AZ @ Desert Diamond Arena *
28 – Las Vegas, NV @ T-Mobile Arena *

OCTOBER
1 – San Diego, CA @ Pechanga Arena San Diego *
3 – Inglewood, CA @ Kia Forum *
4 – Inglewood, CA @ Kia Forum *

NOVEMBER
6 – Laval, QC @ Place Bell #
7 – Toronto, ON @ Scotiabank Arena #
9 – Baltimore, MD @ CFG Bank Arena #
10 – Pittsburgh, PA @ PPG Paints Arena #
12 – Louisville, KY @ KFC Yum! Center #
13 – Columbus, OH @ Schottenstein Center #
15 – Brooklyn, NY @ Barclays Center #
16 – Brooklyn, NY @ Barclays Center #
21  Houston, TX @ Toyota Center #
22 – Dallas, TX @ American Airlines Center #
23 – Dallas, TX @ American Airlines Center #
26 – Austin, TX @ Moody Center #
27 – Austin, TX @ Moody Center #
29 – Tampa, FL @ Amalie Arena #
30 – Hollywood, FL @ Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood #

DECEMBER
2 – Orlando, FL @ Kia Center #
5 – Charlotte, NC @ Spectrum Center #
6 – Nashville, TN @ Bridgestone Arena #
7 – Nashville, TN @ Bridgestone Arena #

+Madi Diaz supporting
*Father John Misty/ Nickel Creek supporting
#Lord Huron/ Nickel Creek supporting

Vulture say that the show “evokes The Godfather films and pop-historical melodramas like Elizabeth and Gladiator in its focus on the tactical aspects of taking and holding power”, adding that the “tensest scenes unfold among the Japanese characters, who keep things as subdued as possible, even when discussing matters of life and death, until it’s time to draw swords.”

Another glowing review from Rolling Stone compares it favorably to the 1980 TV version, noting: “This Shōgun has many hearts and many points of view, rather than fixating on the simplistic stranger in a strange land story from the Eighties. It’s terrific.”

Indiewire’s review compares the show to Game of Thrones, even stating that it succeeds in areas that the HBO show did not. In an A- review, they wrote: “Shōgun’s overt brutality paired with its cunning betrayals calls to mind Game of Thrones, but there’s also an elegance and earnestness to the production that draws a clear line in the sand between the two blockbuster epics.”

“Where the latter is mercilessly lawless — and nastier for it — Shōgun pivots on a code of honor few of its followers dare disobey, making for characters that are far easier to invest in and a narrative that’s far less vexing.”

He continued: “I am honoured to be joined by dozens more of my favourite artists, each of whom brought their unique personalities to this record. Perhaps the biggest shock of them all was when Rufus Wainwright brought his warm, theatrical vocal tone to my symphonic metal anthem ‘Type III.’ I am grateful he took a chance and sang in this genre, which is new for him.”

McCreary is known for composing scores for hit films, TV series and games such as Godzilla: King of the Monsters, Battlestar Galactica, The Walking Dead, The Lord Of The Rings: The Rings Of Power, God Of War, Call Of Duty: Vanguard and more.

Rabbi Dr Jonathan Romain also spoke out against Church, writing: “Dear Charlotte Church: Let me translate for you – when you say ‘From the river to the sea’ it means expelling Jews from the Jordan to the Mediterranean i.e. from the Land of Israel entirely & destroying a nation.”

Dear Charlotte Church: Let me translate for you – when you say “From the river to the sea” it means expelling Jews from the Jordan to the Mediterranean i.e. from the Land of Israel entirely & destroying a nation. Creating a Palestinian state should not mean eradicating Israel.

— Jonathan Romain (@RabbiRomain) February 26, 2024

Time reported last week that over 29,000 people had now been killed in Gaza since the start of the war, which began as a response to the October 7 Hamas attacks in Southern Israel.

Church has a long history of political activity, including speaking out against Jeremy Clarkson’s rant against Meghan Markle last year, and several years of campaigning gainst the Conservative government.

Last summer, Church spoke to NME about her decision to bring her famed Late Night Pop Dungeon to an end and what to expect from her next material. She embarked on the final UK tour for the project in 2022, before giving the Pop Dungeon one last outing at Liverpool’s Eurovision village in May.

On the decision to end Pop Dungeon, Church said that it was more of a “hiatus” than a finale, as she was building up a “landscape” of new original material that she “just can’t ignore” – hoping to “synthesise” all the ground that she’s covered over the years and the lessons she’s learned while running her wellness retreat The Dreaming and nature-driven education initiative The Awen Project.

He also said that he was fine with it being removed as it was “never” in his possession, and instead framed inside the house of his former Manager John Woolf.

The controversy around the musician – real name Richard Kylea Cowie Jr – continued into December 2021, when he was suspended from Twitter following an attack on the CAA.

At the time, he shared a now-deleted tweet (via Daily Mail), posting an image of himself in Hasidic dress and a video titled “The Jewish Faces that Control Hiphop and Mainstream Black Music.”

In another since-deleted tweet, he said: “The more they block me the harder I go and when I get through the door I will stand there and look in their faces with the same look they don’t wanna see….They are just angry they can’t control me…”

Following Wiley forfeiting his MBE, Stephen Silverman, Director of Investigations and Enforcement for Campaign Against Anti-Semitism, shared a statement reading: “Anti-Semites like Wiley must understand that we will work tirelessly to hold them to account. For four years, we have worked to ensure that Wiley faces ruinous consequences for his unhinged antisemitic tirade, for which he has shown no remorse. Today’s decision is a vindication of that effort.”

He continued: “We commend the Honours Forfeiture Committee for using its powers to make clear that anti-Jewish racists cannot be role models in our society and will be stripped of their honours. Receiving an honour is not a one-time thing: it carries an ongoing responsibility to set an example to others.

“Due to technical reasons, including legal action that we continue to pursue against Wiley, the forfeiture was delayed. We are grateful to the Honours Forfeiture Committee for its work on this matter.”

In other Wiley news, in 2022 it was revealed that the artist was wanted by police six months after failing to turn up for a court hearing where he was due to face charges of burglary and assault.

The newly announced shows will occur days before their headlining set Reading and Leeds this year, where they will be performing on the Friday at Leeds and the Sunday at Reading.

The band have not played a show together since 2021, following their headline slots at Reading & Leeds and a pair of outdoor gigs at Singleton Park in Swansea and Neighbourhood Weekender in Warrington. By that time, rumours of the group splitting up had already been swirling.

In a three-star review of their 2021 Reading Festival headlining performance, NME shared: “’One of our longshots paid off,’ sings frontman Van McCann on opener ‘Longshot’ from 2019’s ‘The Balance’ – a heartening notion for most bands who dream of headlining the hallowed stage of Reading. As he later pines on 2016’s ‘Soundcheck’ from ‘The Ride’: ‘Because you grew up in a small town / You’ll appreciate it more’.”

“Circle pits swirl and the vast crowd grows a little more feral, and it’s easy to see how Catfish became one of Britain’s biggest guitar bands. They’re slick as fuck; a well-oiled machine of indie proficiency. Their songs are at times invigorating, rushing through a checklist of stadium rock crowd-pleasing tick boxes.”

The upcoming live shows Catfish and the Bottlemen are expected to announce will be their first since the departure of guitarist Johnny “Bondy” Bond.

In 2022, Bond confirmed he had left the band the year before, alleging that changes in the line-up and the uncertainty about the band’s future had stemmed from “behaviour constantly re-occurring that I found to be intolerable”.

“To put it simply, I feel that both the professional and personal relationships had become entirely dysfunctional,” he added in his statement. Bondy went on to explain that he played four summer shows with the band last year as a session musician “as there was nobody else ready to do so”.

“I have had no contact or affiliation of any sort with the remaining band members since then (Neighbourhood Festival ’21),” he wrote. He added that he “assumed” the group would have informed fans about his departure as well as drummer Bob Hall’s, but that “as far as I’m aware this has not happened yet”.

‘Stray’ has already made its way into The Mysterines’ live set and is the first song released from ‘Afraid Of Tomorrows’ because it “felt like the right introduction to this new era of the band. Plus we didn’t want to give fans [unreleased fan-favourite track] ‘The Last Dance’ just yet,” she grinned.

Metcalfe said she wants ‘Stray’ to give fans “the same experience of freedom and release” that she gets from playing it. “It’s all about creating a connection and right now, that’s more important than ever,” she added.

The accompanying music video for ‘Stray’ was directed by Matilda Harding-Kemp and further explores the idea of “processing trauma and feeling stuck,” with Metcalfe wrestling with knotted ropes. “Me and Matilda both wanted to convey this dark feminine energy but also touch on women’s mental health. It’s easy to love someone when they’re at their best but we need to appreciate people’s dark times as well. It’s about feeling trapped and needing to save yourself but also showcases how I’m taking power over a situation.”

The video sees Metcalfe performing a fully choreographed dance routine, something she says she’s “never done before but it was fun”.

“As an artist, you should always be pushing yourself to do more and test what feels comfortable,” she admitted.

Metcalfe went on to say that The Mysterines have a lot more confidence returning to the fore with their second LP. “I’ve been through way too much to not overindulge in creating something new, when given the opportunity,” she explained. “The driving force behind this band has always been for it to be this outlet for creativity. Whenever I feel panicky or a bit lost, I tap into that inner child and remember why I started doing this. This new album feels unapologetic.

“There are some ridiculous moments on the record but if we don’t do it now, when are we going to do it? That’s why I respect artists like Lou Reed and Patti Smith. They did the thing that everyone thought you shouldn’t, and that’s how they made their mark. That’s how you create something unique.”

[embedded content]

The Mysterines wrote close to 40 tracks for ‘Afraid Of Tomorrows’ with the ones that “provoked an emotion” making the cut. “If you can freak yourself out a little bit, you’re probably making something meaningful and hopefully you can cause a similar reaction in other people,” she offered.

As well as taking inspirations from a number of musical directions, Metcalfe was also inspired by Billie Holiday autobiography Lady Sings The Blues. “Before reading it, I was always more into Nina Simone and Etta James but that book really shook something within me. I was reminded to not give up and never settle for less, even from myself.”

“There were times I did want to give up because writing these songs was so emotionally draining but I just kept reminding myself that Billie Holiday wouldn’t give up,” she added. “Her story is so visceral and traumatic but then you hear her sing, and it’s so powerful. It just reminded me that I’m not the only one in the world who’s gone through trauma.”

[embedded content]

As well as the release of ‘Afraid Of Tomorrows’, The Mysterines have a busy summer of festivals and headline shows to look forward to. “We practice a lot more, so hopefully we’re better live nowadays,” said Metcalfe. “There’s something about these new songs that means I deliver them with more conviction as well.”

The band will also be showcasing the lessons they learned on the road with the Arctic Monkeys. “That was the most surreal experience ever,” Metcalfe admitted. “It still feels like a fever dream we all had. They really looked after us and it was really inspiring to see a band from the North of England in their position. As huge and respected as they are, they’re so grounded and humble.”

“Because they were so relaxed and had so much fun with every show, that loosened us up,” Metcalfe added. “It allowed me to enjoy how mad it was that I was playing stadiums with my mates. It was also a good reminder that nothing has to be super serious all the time.”

‘Afraid Of Tomorrows’ is due for release June 7 via Fiction Records. Pre-order it here.

On the other side of “Interlude” sits the thumping “Prove It To You”, in which mid-period Prince (Howard’s voice sounds strikingly similar) is recontextualised for loved-up clubbers via broken beats, a tinkling keys motif and clouds of blissed-out synth. “Samson”, the longest track here at just over five minutes, follows. Moody, sensual and effortlessly light on its jazz-soul feet, it features Fender Rhodes and a forlorn, blues-soaked trumpet in a missive about summoning the courage to leave a relationship when, mentally, emotionally and psychically, you’ve already checked out. There’s a radical switch with “Power To Undo”, where high-wattage falsetto, flashes of dirty, buzzing guitar and cardboard-box beats recall a mix of Unknown Mortal Orchestra, Prince and Jack White.

Howard exits with the beautifully bruised “Every Color In Blue”, addressing the depression that’s dogged her since childhood in a voice like an anguished angel, with plaintive trumpet accompaniment. “Here comes that feeling we don’t talk about,” she sings, “that dull cloud coming in on the horizon/I feel the rain but it’s all out of rainbows.” As album closers go, it strikes an unusually sombre note, but the singer told Uncut that she “didn’t want to wrap it up tidily. I didn’t want to end it like everything’s okay, because I don’t think that’s realistic.” As a child she didn’t talk about her feelings, “just never did. I always felt this shame around it. Like, you can’t tell anyone how sad you are.” Emotional truth-telling, broken taboos and myriad questions about how best to live her life in music that thrillingly expands Howard’s artistry, rather than treads old ground. Which begs another question: where might she go next?

4 THE BEVIS FROND
Wrong Way Round
Nick Saloman has been making records as The Bevis Frond for decades now, but new LP Focus On Nature still knocks it out of the park with his psych-tinged indie-rock. On this track, the Neil Young of Walthamstow launches off into flights of kraut-fringed fancy.

5 JULIA HOLTER
Spinning
Something In The Room She Moves, our Album Of The Month on page 18, finds Holter subsuming her past records into a stellar new work: gone is the thorny tangle of 2018’s Aviary, replaced by liquid fretless bass, divine and floating keyboard textures and some of her most indelible and unexpected melodies.

6 DEAN McPHEE
Lunar Fire
A concept album united by space, aliens and the unknown, the latest from West Yorkshire’s interstellar guitar wrangler, Astral Gold, contains some of McPhee’s most transportative soundscapes yet. Teleport yourself to page 34 for a full review and Q&A.

7 THE JESUS AND MARY CHAIN
JAMCOD
Jim and William Reid are back 40 years after their debut single, their love for fuzz gloriously unabated. Here’s a highlight from their new album Glasgow Eyes, a reassuringly caustic slab of distorted motorik.

8 PHOSPHORESCENT
Revelator
This is the title track of Matthew Houck’s latest album, the long-awaited follow-up to 2018’s C’est La Vie, crafted at his own Spirit Sounds studio in Nashville. Uncut joins him there on page 80 to discuss songs, sadness and toilet walls.

9 FRANCIS PLAGNE
Here Is Dull Earth (Edit)
This Melbourne-based musician, better known for his experimental work, ventures into out-there song on his new LP, Into Closed Air. Here’s an exclusive edit of one of its mammoth tracks, coursing with the spirit and melancholy of prime Canterbury Scene sounds,

10 CHARLES MOOTHART
One Wish
The LA multi-instrumentalist is releasing his first album under his own name, though you’ll recognise him from his work with Fuzz, CFM and Ty Segall. Inspired by experiments with a sampler, Black Holes Don’t Choke is a forward-thinking, playful rock record, dipping into genres at will.

11 SHEHERAZAAD
Mashoor
‘Produced by Arooj Aftab’ should be enough to prick up most ears, and deservedly so here: much like Aftab’s work, Sheherazaad’s brief debut album Qasr is a brilliantly modern meshing of Asian and Western music. Read our review on page 35.

12 HIGH LLAMAS
Toriafan
Sean O’Hagan has painted with various styles throughout his career, but the Llamas’ new album Hey Panda brings him bang up to date, with bit-crushing, Auto-Tune and the most current of beats. On paper it seems like a risk, but the reality, as “Toriafan” shows, is sublime.

13 WHITELANDS
Now Here’s The Weather
Shoegaze is bigger than ever these days – just ask anyone on TikTok, if you dare – and here’s a great young London group worshiping at the shrine of Slowdive and Ride. Night-Bound Eyes Are Blind To The Day is almost slavish in its reverence, but with tracks as mighty as this, it’s a pleasure not a problem.

14 SAM LEE
Meeting Is A Pleasant Place
On his fourth album, song-finder (and former wilderness survival expert) Lee continues his voyage into traditional song. Bernard Butler is back on production duties, and the result is resiliently modern, deeply textured and moving.

15 ADRIANNE LENKER
Sadness As A Gift
Whether Lenker is writing for her own projects or for Big Thief, her albums become little worlds, as endless in their scope and power as her well of songs can sometimes appear to be. Bright Future is no different, as this deep, generous ballad proves.

The tour will commence in Bend, Oregon at the Hayden Homes Amphitheatre on July 25, before the band performs in cities including Denver, Chicago, Nashville, Toronto and Boston, before finally concluding in Los Angeles’ The Greek Theatre on September 15. Fan pre-sale tickets are currently available through the band’s official website, and can be accessed with the password “LOADED”. General sales commence tomorrow (January 19), at 10AM local time.

Rossdale is currently Bush’s only original member. ‘Loaded: The Greatest Hits 1994-2023’ included a new track, ‘Nowhere To Go But Everywhere’, which Rossdale expressed was “a powerful reflection on the shifts in perspective that time brings”. The band’s last full-length studio album was 2022’s ‘The Art Of Survival’, which was previewed by the single ‘Heavy Is The Ocean’.

The dates of Bush’s ‘Loaded: The Greatest Hits’ tour are:

JULY:
26 – Bend, Oregon – Hayden Homes Amphitheater
27 – Airway Heights, Washington – BECU Live at Northern Quest
29 – Great Falls, Montana – Pacific Steel & Recycling Arena – Montana State Fair
31 – West Valley City, Utah – USANA Amphitheatre

AUGUST:
1 – Denver, Colorado – Fiddler’s Green Amphitheatre
3 – La Crosse, Wisconsin – Copeland Park
4 – Indianapolis, Indiana – Everwise Amphitheater at White River State Park
6 – Cedar Rapids, Iowa – McGrath Amphitheatre
7 – Chicago, Illinois – Huntington Bank Pavilion at Northerly Island
9 – Nashville, Tennessee – Nashville Municipal Auditorium
10 – Maryland Heights, Missouri – Saint Louis Music Park
13 – Cleveland, Ohio – Jacobs Pavilion
14 – Cincinnati, Ohio – Riverbend Music Center
16 – Sterling Heights, Michigan – Michigan Lottery Amphitheatre
17 – Lewiston, New York – Artpark Outdoor Amphitheater
19 – Toronto, Ontario – Budweiser Stage
21 – Holmdel, New Jersey – PNC Bank Arts Center
23 – Atlantic City, New Jersey – Hard Rock Live at Etess Arena
24 – Boston, Massachusetts – Leader Bank Pavilion
26 – Charlotte, North Carolina – Skyla Credit Union Amphitheatre
27 – Raleigh, North Carolina – Red Hat Amphitheater
29 – Jacksonville, Florida – Daily’s Place
30 – Hollywood, Florida – Hard Rock Live

SEPTEMBER:
1 – Atlanta, Georgia – Cadence Bank Amphitheatre at Chastain Par
4 – San Antonio, Texas – Freeman Coliseum
5 – Houston, Texas – 713 Music Hall
7 – Durant, Oklahoma – Choctaw Casino
8 – Dallas, Texas – Dos Equis Pavilion
11 – Las Vegas, Nevada – Bakkt Theater at Planet Hollywood
13 – San Diego, California – Cal Coast Credit Union Open Air Theatre at SDSU
14 – Phoenix, Arizona – Talking Stick Resort Amphitheatre
15 – Los Angeles, California – Greek Theatre 

“I think we all feel like that occasionally, but I think if somebody like me, with the amount of privilege that I have and the incredible things that I get to do and be and how I have really not wanted to be here … sorry to be dark, damn, but I’ve spent a lot of time feeling that way.”

There has also been speculation recently that Eilish may be about to release a collaboration with Bring Me the Horizon after an Instagram reply from the band’s frontman Oli Sykes to one of Eilish’s posts.

Eilish also recently gave fans an update on the status of her new album, saying at the start of January that it was “almost finished”, but added that “it’s not coming out soon”.

He added: “It was that hypocrisy of people on the left once they get into positions of power and they immediately turn their back on the people who got them there.”

Last year, Chumbawamba turned down £30,000 for their music to be used in a new Jeremy Clarkson show. Guitarist Boff Whalley revealed the news on X/Twitter: “I can’t tell you how much satisfaction that gave us,” he wrote.

In other news, Yard Act covered Chumbawamba’s hit ‘Tubthumping’ at their five night residency in Leeds last year in May. They were joined by comedians Nish Kumar and Phil Jupitus, as well as Irish singer-songwriter CMAT.

The band played songs from across their career, including the tour debuts of their 1993 single ‘Lipgloss’ and ‘Monday Morning’, the penultimate song on their classic 1995 album ‘Different Class’.

They rounded out their second set with a special version of ‘Common People’, accompanied by two bagpipers.

The show was the last scheduled gig of the band’s reunion tour, although drummer Nick Banks revealed to NME that more may come from the band in 2024. “It’s the last scheduled thing we’ve got. Hopefully we’ll have more to announce for next year but I don’t know how much I can say at this moment in time, sorry! It’s classified. I’m looking forward to whatever 2024 may bring.”

Pulp have been touring all over the world; they recently visited Argentina, where they played ‘Joyriders’ and ‘Bad Cover Version’ for the first time in 11 years in November. They also visited Mexico earlier that month to debut their new song ‘Background Noise’.

In December, they played in Hong Kong, with Jarvis Cocker ploughing on despite having broken two ribs earlier in the day.

The show brings a difficult year for the band to an end, after their bassist Steve Mackey passed away aged 56 in March.

Despite her claims, she went on to join the show in April 2002. But Abdul alleged that she was discriminated against and paid less than her fellow male judges and that Lythgoe and the show’s production bullied her.

According to the lawsuit, during one of the show’s “initial seasons” Lythgoe allegedly sexually assaulted her in the elevator of a hotel room they were staying at while traveling for one of the show’s auditions.

It went on: “Lythgoe shoved Abdul against the wall, then grabbed her genitals and breasts, and began shoving his tongue down her throat. Abdul attempted to push Lythgoe away from her. When the doors to the elevator for her door opened, Abdul ran out of the elevator and to her hotel room. Abdul quickly called one of her representatives in tears to inform them of the assault.”

Abdul claims she chose not to speak up about the allegations over fear of retaliation from Lythgoe, who she said had the power to fire her from her judging posts.

The suit goes on to claim that in 2014, Lythgoe sexually assaulted her again at his home after inviting her for dinner. Abdul attended believing it to be a “professional invitation”.

“Toward the end of the evening, Lythgoe forced himself on top of Abdul while she was seated on his couch and attempted to kiss her while proclaiming that the two would make an excellent ‘power couple,’” the suit claimed. “Abdul pushed Lythgoe off of her, explaining that she was not interested in his advances and immediately left.”

Fearing reprisals, Abdul again didn’t speak out about the claims.

In another claim, Abdul further alleged that she witnessed Lythgoe sexually assault one of her assistants named April while filming So You Think You Can Dance in 2015.

Her suit was filed under California’s Sexual Abuse and Cover-Up Accountability Act, which allows accusers to file certain abuse lawsuits that would otherwise fall outside the statute of limitations within a one-year window.

In Portnoy’s time away from the band, he produced music with a variety of side projects, including The Winery Dogs, a power trio which also involved Billy Sheehan and Richie Kotzen of Mr. Big, Sons of Apollo, a heavy metal supergroup, and Adrenaline Mob, which he formed with Russell Allen and Mike Orlando.

It’s been a huge year for pop music, with massive tours from Beyoncé, Madonna and Sam Smith. Somehow, 2024 will be even bigger. We’ve already had the return of Dua Lipa confirmed and Taylor Swift’s huge ‘Eras’ tour is finally touching down in Europe. Girls Aloud have also announced their long-awaited return, with a sprawling headline tour that just keeps getting bigger. Promising to play all the greatest hits alongside their own favourites, it’s set to be an emotional, joyful evening.

Fans can buy and sell tickets for Girls Aloud at global marketplace, viagogo here.

Alternatively, why not pick up a vinyl copy of Dua Lipa’s banging new single ‘Houdini’ on vinyl.

The dancing queen

If you want a great night out, you can’t go wrong with the music of ABBA. Now, while the band aren’t actually touring, the impressive ABBA Voyage is the next best thing as it brings together cutting edge tech with those timeless songs. Alternatively, the musical Mamma Mia! continues to go from strength to strength in London’s West End.

Fans can buy and sell tickets for London’s West End at global marketplace, viagogo here and Abba Voyage here. 

The person who just wants a fun night out

Sometimes, you just want the adult version of a sugar-fuelled school disco. Luckily, Nile Rodgers & Chic are touring in 2024 and they’re bringing party-starting queen Sophie Ellis-Bextor with them. If you’ve seen her showstopping Glasto 2023 performance or heard about Chic’s feel-good dance blowout, you know this is going to be a night to remember.

Fans can buy and sell tickets for Nile Rodgers at global marketplace, viagogo here.

Alternatively, Moulin Rouge is currently playing on the West End, featuring tracks from the likes of Adele, Katy Perry and Rihanna.

Fans can buy and sell tickets for London’s West End at global marketplace, viagogo here

The ‘music was better in my day’ fan

Not everyone likes new music and that’s fine. There’s something comforting about going to a gig, and knowing you’re going to know all the words as you’re transported back to a time where, in your humble opinion, music was better. No gig next year is going to be as chaotically wonderful as Liam Gallagher’s 30th anniversary tour for Oasis’ classic album ‘Definitely, Maybe’. He’s even promising not to play any of his solo material.

Fans can buy and sell tickets for Liam Gallagher at global marketplace, viagogo here.

Alternatively, why not pick up a vinyl player to relive the glory days.

The hit lover

Some music lovers can’t resist a deep dive into the carefully curated world of an album. Others are just here for the hits, and next year The Killers are heading out on a massive UK headline tour in support of their second greatest hits album ‘Rebel Diamonds’, which features one song from every year they’ve been a band. As you can imagine, that setlist is going to be wall-to-wall bangers.

Fans can buy and sell tickets for The Killers at global marketplace, viagogo here.

Additionally, why not get some earplugs so they a) don’t damage their hearing and b) can’t hear how out of tune their neighbour is singing along to ‘Mr Brightside’

The humble bragger

Got a friend who can’t help but tell you that they saw an artist before they got massive? Well, why not help them out with tickets to see The Last Dinner Party on their upcoming UK and European headline tour. From the moment they released their first single ‘Nothing Matters’, the band have been known as the most exciting thing in indie and with their debut album finally coming out in February, their next headline tour is going to be a real  ‘I was there’ moment.

Fans can buy and sell tickets for The Last Dinner Party at global marketplace, viagogo here.

Alternatively, why not buy them tickets to a gig at your local grassroots venue. Not only will you be supporting a scene that can’t help but create greatness, but you could discover something wonderful.

Also adapted from a webtoon, upcoming historical drama Flower That Blooms at Night sees Honey Lee in the role of Jo Yeo-hwa, a widow of a noble family during the Joseon Dynasty. While she spends her days at home playing the dutiful daughter-in-law to her late husband’s family, Yeo-hwa secretly sneaks out at night to take care of those who need help.

On one of these nights, Yeo-hwa encounters Park Soo-ho (Lee Jong-won), an intelligent and handsome military officer whose life changes after their chance encounter. As the two begin to cross paths more frequently, Yeo-hwa begins to dream about a future with Soo-ho.

Episodes: 12
Cast: Honey Lee, Lee Jong-won, Kim Song-joong and Lee Ki-woo
Director and Screenwriter: Jang Tae-yoo, Lee Sam
How to watch: Flower That Blooms at Night will premiere on MBC January 12 at 9:50pm KST, with new episodes airing on Fridays and Saturdays

[embedded content]

LTNS

Upcoming comedy drama LTNS follows Woo-jin (Esom) and Samuel (Ahn Jae-hong), a childless couple who have been married for five years. Woo-jin is highly driven, but works as a receptionist at a three-star hotel with a modest salary. Meanwhile, Samuel graduated from a prestigious university and used to work for a major company, but eventually had a mental breakdown and quit to become a taxi driver.

Financially burdened and stressed out from work, their marriage has lost all excitement and become “sexless”. When their financial situation takes a turn for the worst, Woo-jin and Samuel decide to blackmail couples having extramarital affairs to earn some extra cash. At the same time, they begin to reflect on their own relationship.

Episodes: 6
Cast: Esom, Ahn Jae-hong
Director and Screenwriter: Lim Dae-hyung, Jeon Go-woon
How to watch: LTNS premieres on TVING on January 19

[embedded content]

Sejak: Charmed Deceit

Hospital Playlist fan favourite Jo Jung-suk leads this upcoming historical romance as Prince Lee In, who finds himself torn between love and power. Swearing loyalty to his older brother, King Lee Sun, he allows himself to be taken hostage by the Qing Dynasty. However, Lee Sun continues to despise his brother, viewing him as weak.

Though Lee In suffers emotionally from this strained relationship, he finds solace in the game of baduk. Through it, he meets and becomes fascinated with rising player Kang Hee-soo (Shin Se-kyung), who falls passionately in love with him.

Years later, Lee In ends up becoming the king, but is unhappy in his position. During this time, rising baduk player Hee-soo becomes a spy and is sent to approach the king. However, she soon realises that the new king is the same man she fell in love with in the past.

Episodes: 16
Cast: Jo Jung-suk, Shin Se-kyung, Park Ye-young and Lee Shin-young
Director and Screenwriter: Cho Nam-guk, Kim Seon-deok
How to watch: Sejak: Charmed Deceit will premiere January 21 on tvN

[embedded content]

Flex x Cop

A blend of crime, comedy and romance, Flex x Cop is about a third-generation chaebol Jin Yin-soo (Ahn Bo-hyun), who becomes a police detective in the violent crimes division despite his immature personality and his family’s wealth. At work, he attempts to wipe out criminals by using his money and personal connections.

Also part of the violent crimes division is veteran detective Lee Kang-hyun (Park Ji-hyun) who is extremely hardworking and dedicated to solving crimes. Initially, she sees Yin-soo and his methods as more trouble than they are worth. However, Kang-hyun starts to see him differently after they are assigned to become partners.

Episodes: 16
Cast: Ahn Bo-hyun, Park Ji-hyun, Kang Sang-jun and Kim Shin-bi
Director and Screenwriter: Kim Jae-hong, Kim Ba-da
How to watch: Flex x Cop will premiere January 26 on SBS, and air on Fridays and Saturdays

Doctor Slump

Romantic-comedy Doctor Slump follows a pair of doctors and former rivals who reunite as they find themselves at a crossroads in their lives and careers. Yeo Jung-woo (Park Hyung-sik) is a top-scoring medical student who later becomes a famed plastic surgeon. However, a mysterious medical accident pushes him to rock bottom.

It is around this time he meets former classmate Nam Ha-neul (Park Shin-hye) again, who now works as an anaesthesiologist. Despite being praised throughout her life for her extreme intelligence, she comes to realise that she is not happy, as her life only revolves around work and study. As the two doctors reconnect, they find comfort in each other, and a romance begins to blossom between them.

Episodes: 16
Cast: Park Hyung-sik, Park Shin-hye, Yoon Park and Kong Seong-ha
Director and Screenwriter: Oh Hyun-jong, Baek Sun-woo
How to watch: Doctor Slump will premiere January 27, airing on Saturday and Sunday nights on JTBC, and will also be streamed on Netflix.

Queen of Divorce

Starring Penthouse‘s Lee Ji-ah and The Uncanny Counter‘s Kang Ki-young, Queen of Divorce follows a “problem-solver” and divorce lawyer duo who punish their clients’ bad spouses. Lee plays Sara Kim, the leader of divorce settlement company Solution. Formerly the daughter-in-law of a prominent law family, she loses everything and starts the company after being betrayed by her husband.

Meanwhile, Kang plays her business partner, lawyer Dong Ki-joon. A former prosecutor with one of the highest prosecution rates in his region, he mysteriously steps down from his post. Together, the duo seek to get the best settlement for their clients seeking to divorce their partners.

Episodes: 16
Cast: Lee Ji-ah, Kang Ki-young, Oh Min-seok, Kim Sun-young
Director and Screenwriter: Park Jin-seok, Jeong Hee-seon
How to watch: Queen of Divorce premieres on January 31 on JTBC, airing on Wednesdays and Thursdays

Marr is not the first musician to speak up about AI. Artists that have spoken out against AI include Hozier (who has considered striking in protest), Noel Gallagher (who called the creators of a fake Oasis album “fucking idiots”) and Nick Cave (who described it as “a grotesque mockery of what it is to be human”).

Concerns have also been raised around issues relating to copyright and payment for creatives. UK Music Interim Chief Executive Tom Kiehl urged Prime Minister Rishi Sunak to respond to the music industry’s concerns around artificial intelligence by introducing some form of legal protection around the developing technology.

Kiehl and UK Music have suggested that AI could be a form of “music laundering,” opening up a potential means for creatives to not receive compensation for their work.

Back in September, the CMM published five fundamental rules that they want companies to embrace when it comes to developing music AI technologies.

The outlined five key objectives to ensure that all training, licensing and commercialisation of music-making generative AI models in the music sector can be developed in a way that is both helpful to creators and respective of their rights.

In other news, Marr and The Charlatans announced a handful of huge UK 2024 co-headlining outdoor shows.

Both artists are set to perform as part of the Forest Live concert series that will take place at Cannock Chase Forest in Rugeley on June 28, 2024. They are also both set to play the Scarborough Open Air Theatre on June 29, 2024.

Recently, Marr performed a collection of solo and Smiths classics with a 30 piece orchestra during a Manchester homecoming show.

In a four star review of the show, NME said: “Songs from Marr’s four solo albums over the last decade dominate the set, but inevitably it is the choice cuts from the past that rouse the crowd most effectively.”

He was also recently joined by The Charlatans‘ Tim Burgess for a cover of Electronic‘s ‘Getting Away With It’ at Halifax’s Piece Hall.

The performance was the latest in a series of recent on-stage collaborations with Marr previously joined onstage by Gaz Coombes to perform The Smiths‘ classic ‘There Is A Light That Never Goes Out’ at Lakefest 2023.

There are three types of Cave Root in Avatar: Frontiers Of Pandora, with Fine and Superior both available throughout the Upper Plains. However Exquisite Cave Root is only available towards the end of the game, in the final region known as the Clouded Forest in caves near the Blistering Roots . Exquisite Cave Root can also be used to craft the Heavy Bow but will give players a greater chance of getting a bow with the highest possible stats.

In a three-star review, NME praised Avatar: Frontiers Of Pandora’s “stunning setting that will often take your breath away” alongside the “enjoyable gathering and crafting.”

 “Avatar: Frontiers Of Pandora is a gorgeous realisation of James Cameron’s Avatar franchise, but uncreative open-world game mechanics, unlikeable characters and a dull story hold back the game’s potential,” the review continued.

Other acts on the line-up included Earl Sweatshirt, Code Orange, Converge, Show Me The Body, Trapped Under Ice, Turnover and Loathe, as well as CANDY, Fleshwater, Gel, High Vis, Jesus Piece, KOYO, Lil Ugly Mane, MIKE, One Step Closer, Scowl, SPEED, SPY, Wiki and Zulu.

Joel McKinnon Miller, who played Norm Scully on the show, took to Instagram to write: “Sending love to Andre’s family and friends and all of us who had the honor of working with him.”

Miller’s onscreen companion, Dirk Blocker, who played Michael Hitchcock, also addressed Braugher’s passing. “Fiercely intelligent, remarkably kind, supportive, generous and possessed a deep and extraordinary talent, and had even more to offer,” he wrote on Instagram. “I am devastated. I love him. The 9 years I was able to work with him and to just be in his presence was truly a blessing. My heartfelt condolences go out to his family.”

Others who worked on Brooklyn Nine-Nine also paid their tributes, including Prentice Penny, who wrote for the comedy in addition to show-running Insecure. Recalling a memory on the set of Brooklyn Nine-Nine, he wrote: “One of my other favorite memories was me, him and Terry Crews talking on set. He was so warm with us and then when a white person would walk by, he’d look serious again. He then leaned in and said “Gotta keep ‘em on they toes”.”

“Several members of the crew once told me they’d never seen someone smile as much as me when I was discussing Sex and the City at length over a long lunch on an empty set with Andre,” wrote Brooklyn Nine-Nine director and editor Ryan Case. “My cheeks actually hurt.”

One of my other favorite memories was me, him and Terry Crews talking on set. He was so warm with us and then when a white person would walk by, he’d look serious again. He then leaned in and said “Gotta keep ‘em on they toes.” Again, I fell out! RIP #andreBraugher

— Prentice Penny (FUX YO BLUE CHECK) (@The_A_Prentice) December 13, 2023

It makes me feel better to gush about him. Several members of the crew once told me they’d never seen someone smile as much as me when I was discussing Sex and the City at length over a long lunch on an empty set with Andre. My cheeks actually hurt.

— Ryan Case (@film114) December 13, 2023

Spider Man: Across The Spider Verse and Cocaine Bear producer Christopher Miller, who directed Brooklyn Nine-Nine’s pilot alongside frequent collaborator Phil Lord, praised Braugher’s onscreen chemistry with Samberg, writing: “He was a kind, thoughtful, supremely talented person. The way he and Andy [Samberg’s] opposite approaches to acting baffled & then slowly influenced each other was a magical dynamic that was the heart of the show.”

Sad. I got to know Andre a little while doing the Brooklyn Nine-Nine pilot. He was a kind, thoughtful, supremely talented person. The way he and Andy’s opposite approaches to acting baffled & then slowly influenced each other was a magical dynamic that was the heart of the show. https://t.co/j8Mvu86w8T

— Christopher Miller (@chrizmillr) December 13, 2023

Mike Royce, who created Man Of A Certain Age, a drama which Braugher starred in between 2009 and 2011, called him the “best actor in the world”, adding that his untimely death was an “incomprehensible loss”.

This is impossible for me to process. He was best actor in the world. An incredible human being. An incomprehensible loss https://t.co/778v5NGNI4

— Mike Royce (@MikeRoyce) December 13, 2023

Other Hollywood figures have paid their respects, including Bojack Horseman writer and producer Nick Adams. Referring to Braugher’s guest appearance on the show, he wrote: “An absolute titan. Hearing this man speak words that I wrote was an absolute high point of my career”.

Sharing a clip from the pilot of Homicide: Life On The Street, TV and comics writer Jay Faerber wrote: “May he rest in peace. I’ll likely be posting more of his standout scenes from Homicide in the coming days. He’s a legend.”

What an incredible loss. An absolute titan. Hearing this man speak words that I wrote was an absolute high point of my career. https://t.co/nN2vGGOJOD

— Nick "From the River to the Sea” Adams (@nickadamsweb) December 13, 2023

From the HOMICIDE: LIFE ON THE STREET pilot. Our first real look at the mercurial Frank Pembleton, played so magnificently by Andre Braugher. May he rest in peace. I’ll likely be posting more of his standout scenes from Homicide in the coming days. He’s a legend. pic.twitter.com/RY2WqIcX67

— Jay Faerber (@JayFaerber) December 13, 2023

Minions screenwriter Brian Lynch also wrote: “Andre Braugher’s Holt on BROOKLYN 99 was one of my favorite TV characters of all time. His deadpan delivery balanced the insanity of the show perfectly. And he was able to convey such warmth even as he was doing his masterful slow burn. May he Rest in Peace.”

Andre Braugher's Holt on BROOKLYN 99 was one of my favorite TV characters of all time. His deadpan delivery balanced the insanity of the show perfectly. And he was able to convey such warmth even as he was doing his masterful slow burn. May he Rest in Peace. pic.twitter.com/5OL90n5miP

— Brian Lynch (@BrianLynch) December 13, 2023

Braugher was born and raised in Chicago, before he earned his bachelor’s degree in Stanford University and subsequently, his M.F.A from the Julliard School. He made his acting debut in the 1989 film, Glory, in which he played a black man who joins the first black regiment in the Union Army, playing alongside Matthew Broaderick and Denzel Washington.

Braugher’s breakout role was as Detective Frank Pembleton in the NBC police procedural, Homicide: Life On The Street, which ran from 1993 to 1999. For the role, Braugher earned a Primetime Emmy for Outstanding Lead Actor in a Drama Series, and two Television Critics Association Awards. Homicide: Life On The Street was also where he met his wife Ami Brabson, who had a recurring role on the show.

In the 2000s, Braugher’s career was marked by roles in films including Poseidon, Fantastic Four: Rise of The Silver Surfer, and Passengers, alongside starring roles in television mini-series, including 2004’s Salem’s Lot and 2006’s Thief, the latter of which earned him a Primetime Emmy.

Between 2013 and 2021, Braugher co-starred with Andy Samberg in the beloved NBC comedy, Brooklyn Nine-Nine, as the stoic Captain Raymond Holt. His performance earned him two Critics’ Choice Television Awards and four Primetime Emmy nominations.

Braugher’s final role was in the 2022 drama She Said, which starred Carey Mulligan and Zoe Kazan and was based on the 2019 book of the same name, about the New York Times journalists whose reporting sparked the #MeToo movement and resulted in the prosecution of Harvey Weinstein. In it, Braugher played journalist and editor Dean Baquet.

He was scheduled to resume shooting the Netflix murder-mystery The Residence, which had completed production for four episodes before the Writers’ Guild of America strike. While it was originally slated to restart production on January 2, it is now unclear if the show’s resumption will maintain on this date, or what the future of Braugher’s role is.

This is a developing story

On the 10th anniversary of her death in 2021, various artists spoke about her impact and legacy to NME. In the piece, Dave McCabe, frontman of The Zutons, whose song ‘Valerie’ was covered by Winehouse to critical and commercial success, spoke fondly of her.

Recalling the moment he heard Winehouse’s cover playing in the opening ceremony of the London 2012 Olympics, he said: “I didn’t wanna burst out crying in the middle of the pub or nothing, so I had to go away to the toilet; I was like, ‘Fucking hell that was emotional’, but in a nice way. It doesn’t feel like it’s our song any more; it feels like it’s its own world.”

Gillespie also recalled the time MacGowan once performed ‘Rocks’, ‘Loaded’, and a cover of ‘Born To Lose’ by The Heartbreakers at a Primal Scream in concert in Glasgow.

He added: “I remember the full force of his vocal dragging the band behind him as he tore into the verses of the song. When he sang he was a force of nature, all punk power and visceral emotion.

“A true rock’n’roller – and a Celtic soul brother of the highest order. ‘We’re Gaels!’, he proclaimed to me once. Every time he sang with us, and he did variously in Glasgow, Dublin and London over the years, we were honoured. We loved him. The fact he dug our band meant the world to us.”

Gillespie finally recalled his last memory of MacGowan in hospital in September and hailed his wife Victoria who he described as The Pogues frontman’s “rock” and “guardian angel.”

He added: “Underneath the rock’n’roll, rake-at-the-gates-of-hell image, the role of the Brendan Behanesque poète maudit, Shane was a good old-fashioned romantic. He saw the beauty of the spirit and the flaws in people, celebrated them and identified with their struggles. He felt too much probably, saw too much with the poet and songwriter’s gift of vision.

“And maybe that’s what all the drinking and drugging was about. He had to numb himself to get through his life. His greatest songs exist to help the rest of us get through our lives. Thank you, Shane. Thank you for the music and the good times. May God rest your beautiful Gaelic soul.”

The Pogues frontman passed away “peacefully” on November 30, having died from pneumonia aged 65.

His funeral in Tipperary, close to where MacGowan spent his childhood, saw The Pogues perform together for the first time since 2014.

Glen Hansard and Lisa O’Neill also performed a version of MacGowan’s 1987 festive classic ‘Fairytale Of New York’ at the service, backed by members of The Pogues, leading to members of MacGowan’s family to dance in the aisles of the church.

Nick Cave also performed at the funeral, playing a powerful, adapted version of The Pogues‘ ‘A Rainy Night in Soho’, while Johnny Depp delivered a personal reading to the man he descirbed as the “maestro” at the funeral.

“Over the past year, we’ve made significant changes to our policies and processes to create a safe and more inclusive workplace and empower our teams to create games that reflect the diversity of the world we live in,” the statement added.

In other news, Sega announced five reimaginings of classic titles at The Game Awards 2023. Elsewhere, Hideo Kojima announced he is collaborating with director Jordan Peele on a new title coming to Xbox starring actresses Sophia Lillis and Hunter Schafer

“When I grew up, women were always pit against one another,” she wrote, alongside photos of herself with the pair.

“It took me until adulthood to see that the instinct for women to lift each other up to their highest potential is the norm not the exception. Most of my best friends are women who would’ve been packaged to me as threats or competition. It’s our job to show younger generations the power in aligning rather than dividing.”

“All this to say, @beyonce and @taylorswift neither of you have to be threatened by my pop stardom,” she joked. “There’s space for us all.”

Swift’s attendance at the London premiere returned the favour after Beyoncé went to Swift’s own premiere for her The Eras Tour film.

Beyoncé also hosted a Los Angeles premiere for her film at the Samuel Goldwyn Theater in Beverly Hills on November 25, where Destiny’s Child briefly reunited.

This week, Renaissance: A Film by Beyoncé took $21million (£17million) in its opening weekend in North America alone. However, the box office stats fell short of Swift’s own movie.

Elsewhere, Swift has confirmed that her Eras Tour concert film will be getting a digital online release very soon.