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Selena Gomez says men “need to stand up” against Supreme Court’s ruling on abortion

Selena Gomez has addressed the US Supreme Court’s decision to overturn Roe v Wade, calling on men to speak out against the ruling.

On Tuesday (June 27), while appearing on the red carpet for the season two premiere of Only Murders in the Building, Gomez used her platform to criticise the decision, while addressing what Hollywood can do to protect American women’s constitutional right to have an abortion.

Speaking to Variety, Gomez said: “It’s about getting men – men needing to stand up and also speak against this issue. It’s also the amount of women that are hurting. I’m just not happy and I hope that we can do everything in our power to do something to change that.”

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The 28-year-old actress also drew attention to a recent Twitter thread of hers which included information on how to actively challenge the ruling.

The thread began: “Watching a Constitutional right be stripped away is horrific. A woman should have the right to CHOOSE what she wants to do with her own body. End of story.

“Please support Planned Parenthood Action – I am fearful of what will happen to those without the necessary means to have access to a safe, legal abortion.”

Gomez appeared on the red carpet alongside her Only Murders co-stars Steve Martin and Martin Short. The comedy drama series follows three true crime fanatics – Charles, Oliver and Mabel – who take murder investigations into their own hands.

The second season picks up after the trio are implicated in the death of Arconia Board President Bunny Folger, with the team now now trying to clear their name through their true crime podcast.

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The new season will see Cara Delevingne join the cast as Alice, a new character described as Mabel’s love interest who puts her “in touch with a side of herself she’s been somewhat neglecting since the show began” [via Vanity Fair].

Only Murders In The Building season two will premiere on Hulu in the US on June 28. The show will be released in the UK on Disney+.

Last month Gomez hosted Saturday Night Live for the first time, appearing alongside Steve Martin for a comedy sketch while also offering up an impersonation of her friend and fellow pop star Miley Cyrus.

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Kendrick Lamar’s Glastonbury crown of thorns featured 8,000 micro pavé diamonds

The crown of thorns worn by Kendrick Lamar during his headline set on Glastonbury‘s Pyramid Stage on Sunday (June 26) featured 8,000 cobblestone micro pavé diamonds.

The Compton rapper’s powerful show on the final night of the 2022 festival saw him take to the stage wearing a custom titanium and pavé diamond crown.

  • READ MORE: Glastonbury Festival 2022 – review: camping, killer tunes and catharsis on Worthy Farm

The headpiece was designed over the course of 10 months by Lamar along with his longtime creative collaborator Dave Free (of pgLang) and the jeweller Tiffany & Co., according to Vogue.

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The crown featured 8,000 cobblestone micro pavé diamonds totalling more than 137 carats, weighing in at around 200g. Four craftsmen put in 1,300 hours of work to handset the diamonds.

Kendrick Lamar
Kendrick Lamar (Picture: Leon Neal/Getty Images)

“The crown is a godly representation of hood philosophies told from a digestible youthful lens,” Free said of the creation.

“Kendrick Lamar represents the artistry, risk-taking creativity and relentless innovation that has also defined Tiffany & Co. for nearly two centuries,” Alexandre Arnault, executive vice president, product and communication at Tiffany & Co., added. “We are proud and incredibly excited to work with a visionary like Kendrick in realising his vision for the crown.”

Lamar debuted the crown during a Louis Vuitton menswear show in Paris on Thursday (June 23), where he performed an ode to the late Virgil Abloh.

Lamar concluded his Glastonbury set by chanting “Godspeed for women’s rights” in reference to the US Supreme Court’s recent decision to overturn Roe v. Wade.

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‘Westworld’ premieres season four with cover of Lana Del Rey’s ‘Video Games’

The fourth season of Westworld has premiered with a cover of Lana Del Rey’s ‘Video Games’ by composer Ramin Djawadi.

  • READ MORE: ‘Westworld’ season four review: block out the plot and enjoy the violent delights

Djawadi is known for providing instrumental arrangements of classic pop and rock songs for the show and has previously included versions of Soundgarden’s ‘Black Hole Sun’, The White Stripes’ ‘Seven Nation Army’ and Guns N’ Roses’ ‘Sweet Child O’ Mine’.

The cover of ‘Video Games’, a track which originally came out in 2012, features strings and a piano providing a gentle, haunting rendition of the melody.

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The new series of Westworld is set seven years after the revolutionary climax of season three. Earlier this month, Tessa Thompson revealed more of what viewers can expect from the fourth season.

“I’m anxious not to give anything away,” she told i09 (via Gizmodo), “but I think, as I understood it this season, [Hale’s] plan is sort of bigger than just a desire for power. I think that’s always been her fundamental nature in a way, both as Hale when we first met her, and as a host.”

Also earlier this month (June 5), co-creator, writer, director and executive producer Lisa Joy, writer and executive producer Alison Schapker, actors Evan Rachel Wood, James Marsden, Jeffrey Wright, Luke Hemsworth, Angela Sarafyan, and new addition Aurora Perrineau all took part in a panel offering their own updates.

Westworld season four premieres today (June 27), airing on Sky Atlantic and NOW in the UK.

In other Lana Del Rey news, the singer recently shared her rendition of Father John Misty‘s ‘Buddy’s Rendezvous’.

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Her cover of Joshua Tillman’s ‘Chloë And The Next 20th Century’ track was first previewed back in January. It was later exclusively released on a seven-inch vinyl as part of a limited edition box set of the aforementioned record.

Featuring piano, strings and saxophone, the alternate version of ‘Buddy’s Rendezvous’ sees Del Rey and Tillman join forces towards the end.

Meanwhile, Lana Del Rey’s manager has confirmed that the singer’s next full-length record is “coming soon”.

Meanwhile, Lana Del Rey’s manager has confirmed that the singer’s next full-length record is “coming soon”.

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Watch Mariah Carey join Latto for ‘Big Energy’ collaboration at BET Awards

Mariah Carey made a guest appearance at this year’s BET Awards, where she joined Latto for a performance of ‘Big Energy’.

  • READ MORE: Latto – ‘777’ review: “Queen of da Souf” digs deeper with soul-searching second album

The BET Awards, which took place last night (June 26), included a number of performances from the likes of Jack Harlow, Lizzo and Chance The Rapper.

Latto took to the stage to perform her single, which originally came out in September, with Carey appearing on a new remix in March.

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For the performance of ‘Big Energy’, Young Dirty Bastard opened, with Carey later belting out a high note hidden behind a screen. The screen eventually lifted to reveal Carey as she performed her verse. At the end, Latto handed her a bouquet of flowers as confetti rained down on the stage.

Latto released her second album ‘777’ in April. In a four-star review, NME said: “Here is proof, once again, that Latto could go toe-to-toe with the best of ‘em.”

Speaking to NME last year, she said: “I’m in my own lane. I literally made history with my song ‘Bitch From The South’ as the first solo female rapper from Atlanta to go gold. Then I was the first solo female rapper from Atlanta to go platinum.

“There’s a lot of artists from Atlanta but there hasn’t really been a female face for Atlanta, so I feel like I’m that Southern laid-back aesthetic: unapologetic, raw, uncut pussy power – that’s me.”

Elsewhere during the BET ceremony, Kanye West made a surprise appearance, honouring Sean “Diddy” Combs as the rapper and producer received the Lifetime Achievement Award. And Janelle Monáe spoke out against the recent overturning of Roe v Wade, flipping off the US Supreme Court in the process.

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Jack Harlow also brought Brandy out for a performance of his single ‘First Class’. Proceeding to perform most of the song solo with the help of energetic backup dancers, Harlow surprised the crowd when he brought out Brandy to deliver the playful freestyle diss that she wrote and performed over ‘First Class’ last month.

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Cyndi Lauper shares rerecorded version of abortion rights song ‘Sally’s Pigeons’ in wake of Roe v. Wade reversal

Cyndi Lauper has shared a rerecorded version of her 1993 abortion rights anthem ‘Sally’s Pigeons’ in the wake of the US Supreme Court’s reversal of Roe v. Wade.

  • READ MORE: Taylor Swift, Pearl Jam and more react as Supreme Court overturns Roe v. Wade

In a series of tweets that accompanied the new, more stripped-back and plaintive version of ‘Sally’s Pigeons’ on June 25, Lauper wrote, “In my childhood, women didn’t have reproductive freedom and 50 years later we find ourselves in a time warp where one’s freedom to control their own body has been stripped away.”

She continued, “When I wrote this song with Mary Chapin Carpenter in 1991, we wrote about two little girls who dreamt of stretching their wings like the pigeons they watched that flew above them.

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“They dreamt of being free. But freedom then for women and unfortunately now comes at a big price. If we don’t have control over our own bodies then we have no real freedom. We are second class citizens. We need to mobilize. We need to let our voices be heard.”

‘Sally’s Pigeons’ was famously inspired by a childhood friend of Lauper’s who had gotten pregnant in her teens and sought a back-alley abortion. Lauper’s friend died as a result, and Lauper has since made her pro-choice stance clear, even attending a Planned Parenthood Bans Off Our Bodies march in New York City earlier this year in May.

Listen to the ‘Redux 2022’ version of ‘Sally’s Pigeons’ below.

Notable figures in the music industry have expressed their outrage on social media following the announcement of the reversal, including Taylor Swift, Pearl Jam, Charli XCX, Phoebe Bridgers and more. “I’m absolutely terrified that this is where we are,” Swift wrote, “that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”

Bridgers and Janelle Monáe both addressed the US Supreme Court in their recent respective appearances at Glastonbury Festival and the BET Awards 2022 with short but similar messages of: “Fuck the Supreme Court!”

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In May, Halsey aired a video of protest footage and facts about abortion statistics during her ‘Love And Power’ tour opener and joined the likes of Billie Eilish, Megan Thee Stallion and Bridgers in signing a letter denouncing the leaked Supreme Court draft opinion that preceded the reversal.

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Chung Ha to release second studio album ‘Bare & Rare’ next month

Chung Ha has officially announced the release details for her sophomore studio album, ‘Bare & Rare’, due out in July.

  • READ MORE: Chung Ha’s new single ‘Killing Me’ is a powerful ode to the frustration of the times

Today (June 27), the K-pop singer shared on Twitter and Instagram that her second studio album, titled ‘Bare & Rare’, will arrive on July 11 at 6pm KST. The announcement was made alongside a “scheduler” poster, which reveals when the album’s tracklist and teasers will be unveiled leading up to its release.

Led by the title track ‘Sparkling’, the forthcoming record appears only be the first part of Chung Ha’s ‘Bare & Rare’ project. The second half is expected to be released in the latter half of 2022.

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‘Bare & Rare’ is also set to include Chung Ha’s new song ‘California Dreams’, which she performed at the Seoul Waterbomb Festival 2022 over the weekend.

Notably, fans have belatedly realised that the singer had previously revealed the title of the her forthcoming project via fan community app Bubble. Chung Ha had shared a series of selfies featuring a phone case with the words “BARE AND RARE” on it on the app on June 18.

‘Bare & Rare’ comes over a year after the arrival of Chung Ha’s debut studio record ‘Querencia’, which dropped last February, and marks her first release of 2022. She had previously dropped a special digital single titled ‘Killing Me’ last November.

Just last week, Chung Ha featured on Korean-Canadian singer Junny’s new single, ‘Color Me’, from his forthcoming studio album. The song had been the follow-up to Junny’s May single ‘Get Ya!’, which featured Korean rapper pH-1. Both tracks are set to appear on his upcoming full-length project.

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Watch Phoebe Bridgers join The Jesus and Mary Chain for ‘Just Like Honey’ at Glastonbury

Phoebe Bridgers joined The Jesus and Mary Chain onstage to perform ‘Just Like Honey’ during the band’s Friday (June 24) set at this year’s Glastonbury festival.

  • READ MORE: Phoebe Bridgers live at Glastonbury 2022: a triumphant – and powerful – victory lap

Bridgers, who played her own Glasto set right before JAMC at the John Peel Stage, supplied backing vocals for the rock legends, letting singer Jim Reid lead the performance. The appreciative crowd allowed the song to play almost uninterrupted before applauding the band and Bridgers as Reid thanked her at the end of the song.

Watch Bridgers join The Jesus And Mary Chain to perform ‘Just Like Honey’ below.

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Bridgers made headlines for her maiden Glastonbury set, where she denounced the recent decision of the US Supreme Court to overturn Roe v. Wade, a 1973 case that made abortion legal on a federal level. The decision was officially made on June 24, meaning US states can set their own laws regarding the legality of abortions. 23 states are expected to make abortion illegal, Politico reports.

“This is my first time here and, honestly, it’s super surreal and fun, but I’m having the shittiest day,” Bridgers told the Glastonbury audience on June 24, before asking Americans in the crowd to chant, “Fuck the Supreme Court!”

Following the chant, Bridgers continued: “Fuck that shit. Fuck America. Like, fuck you. All these irrelevant, old motherfuckers trying to tell us what to do with our fucking bodies… Ugh. I don’t know, fuck it, whatever.”

  • READ MORE: Glastonbury Festival 2022 – review: camping, killer tunes and catharsis on Worthy Farm

Friday at Glastonbury saw a headline set by Billie Eilish at the Pyramid Stage, as well as other noteworthy performances by Sam Fender, IDLES, St. Vincent, Little Simz, Foals and more.

Catch up on everything Glastonbury 2022 here at NME.

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Kendrick Lamar closes Glastonbury with “godspeed for women’s rights” chant

Kendrick Lamar has closed his Glastonbury set with an emotional speech thanking fans, followed by a performance of ‘Savior’.

At the end of the ‘Mr. Morale And The Big Steppers’ track, he repeated the chant: “They judge you, they judged Christ. Godspeed for women’s rights”, before promptly leaving the stage as fake blood poured down from his crown of thorns.

  • READ MORE: Kendrick Lamar – ‘Mr. Morale & The Big Steppers’ review: a cathartic, soul-baring autobiography

The chant is significant because of the Supreme Court’s recent decision to overturn Roe v. Wade (June 24). Multiple musicians have referenced the ruling during their Glastonbury sets, including Billie Eilish, Lorde and Phoebe Bridgers.

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Lamar opened his set with an instrumental interlude from ‘Savior’ before launching into ‘United In Grief’. Elsewhere, he played ‘Count Me Out’ and ‘N95’, as well as hits like ‘Humble’ and ‘Alright’.

He was joined by dancers throughout, both men dressed in black trousers and white shirts like Kendrick, and women in flowing red dresses.

After performing ‘Love’, he said: “On behalf of me and my team, I want to thank every individual out here tonight. I consider y’all family, this shit is special, it means a lot to me.”

He continued: “I look out into the crowd and I see different creeds, different colours.

“I wear this crown. They judged Christ. They judge you, they judged Christ. We gonna continue to walk in his image.”

Lamar has spent the week in France, performing in Cannes on Monday night (June 20) as part of a Spotify event. He then moved on to Italy, where he performed at the Milano Summer Festival on Thursday night.

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‘Mr. Morale And The Big Steppers’ was released in May 2022. In a five-star review, NME described the album as “a cathartic, soul-baring autobiography”.

In a recent interview, Tyler, the Creator heaped praise on ‘Mr. Morale & the Big Steppers’, following the likes of Eminem, Lorde and Pharrell Williams, who have all shared positive comments about the album.

Lamar will bring his ‘The Big Steppers’ world tour to the UK and Ireland in November for a series of live dates. Baby Keem and Tanna Leone will provide support on all dates of the tour. Find any remaining tickets here.

Check back at NME here for the latest news, reviews, interviews, photos and more from Glastonbury 2022.

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Lorde brings out Arlo Parks and Clairo for ’Stoned At The Nail Salon’ at Glastonbury 2022

Lorde brought out Arlo Parks and Clairo as special guests during her Glastonbury 2022 headline set. Watch the clip below.

  • READ MORE: The story of Glastonbury 2022 in glorious photos

The New Zealand pop-star was performing on the pyramid stage, Sunday (June 26). Clairo and Parks joined Lorde to sing along with her on the track ‘Stoned At The Nail Salon’ from her 2021 album  ‘Solar Power’.

Clairo notably provided backing vocals for the record, on the songs ‘Solar Power’ and ‘Stoned At The Nail Salon’. Both special guests performed their own sets on Worthy Farm this year, with Clairo taking the John Peel Stage earlier today and Parks playing The Park Stage on Friday.

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During the performance, Lorde also took the time to speak out against the recent overturn of Roe v. Wade. The supreme court overturned the landmark case on June 24. The ruling had granted women in the US the right to terminate a pregnancy and was put in place nearly 50 years ago.

Olivia Rodrigo also spoke out against the decision during her set yesterday (June 25). After bringing Lily Allen out to the stage, she told the crowd, “Roe v. Wade, which is a law that ensures a woman’s right to a safe abortion, a basic human right” had been overturned.

“I’m devastated I’m terrified and so many women and so many girls are going to die because of this,” she continued. “I wanted to dedicate this song to the five members of the supreme court, who showed us that at the end of the day they truly don’t give a shit about freedom.

“This song goes out to the justices, Samuel Alito, Clarence Thomas, Neil Gorsuch, Amy Coney Barret, and Brett Kavanaugh. We hate you.” Then, the pair dueted a fiery rendition of Allen’s hit ‘Fuck You’.

Check back at NME here for the latest news, reviews, interviews, photos and more from Glastonbury 2022.

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Lorde gives impassioned speech about Roe v. Wade at Glastonbury 2022

Lorde gave an impassioned speech about Roe v. Wade being overturned during her Pyramid Stage set at Glastonbury 2022 tonight (June 26).

The New Zealand pop star was performing as the final act before Kendrick Lamar headlines the final day of this year’s festival.

  • READ MORE: The story of Glastonbury 2022 in glorious photos

At the end of ‘Secrets From A Girl (Who’s Seen It All)’, Robyn’s pre-recorded closing monologue did not play over the PA. Instead, Lorde spoke to the crowd, referencing the US Supreme Court’s recent decision to overturn the landmark abortion ruling Roe v. Wade. The move means abortion will no longer be protected as a federal right in the US for the first time since 1973, and each state will be able to decide individually whether to restrict or ban abortion.

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“Welcome to sadness,” she began. “The temperature is unbearable until you face it. You wanna know a secret, girls? Your bodies were destined to be controlled and objectified since before you were born. That horror is your birthright.”

She continued: “Here’s another secret – you possess ancient strength, ancient wisdom. Wisdom that has propelled every woman who came before you. That wisdom is your birthright. I ask you today, make accessing that wisdom your life’s work, because everything depends on that.” As the song ended, she concluded: “Fuck the Supreme Court.” Watch fan-shot footage of the moment above.

Elsewhere in the set, Lorde brought out Arlo Parks and Clairo for ‘Stoned At The Nail Salon’, while she also covered Bananarama’s ‘Cruel Summer’.

Lorde played:

‘The Path’
‘Homemade Dynamite’
‘Buzzcut Season’
‘Stoned At The Nail Salon’
‘California’
‘Ribs’
‘The Louvre’
‘Secrets From A Girl (Who’s Seen It All)’
‘Mood Ring’
‘Cruel Summer’
‘Liability’
‘Sober’
‘Royals’
‘Supercut’
‘Perfect Places’
‘Green Light’
‘Solar Power’

Lorde is the latest musician to speak out about Roe v. Wade being overturned at Glastonbury 2022. Phoebe Bridgers led her audience in chanting “Fuck the Supreme Court” on Friday night (June 24), while Billie Eilish used her headline set on the same night to make reference to the decision.

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Yesterday (June 25), Olivia Rodrigo brought out Lily Allen to sing the British star’s ‘Fuck You’ together. Before they began the song, Rodrigo told the Other Stage crowd: “I’m devastated I’m terrified and so many women and so many girls are going to die because of this. I wanted to dedicate this song to the five members of the supreme court, who showed us that at the end of the day they truly don’t give a shit about freedom.” She also dedicated the song to the five justices involved, individually naming each one.

Glastonbury 2022 concludes tonight with a headline set on the Pyramid Stage from Kendrick Lamar, while Pet Shop Boys, Charli XCX, Bicep and Courtney Barnett will also top the bill on the other main stages.

Billie Eilish and Paul McCartney headlined the previous two days of the festival, while George Ezra played a secret set on the John Peel Stage earlier today. Jamie T made his return to Glastonbury for only his second show in five years, Megan Thee Stallion made her Glastonbury debut, and Foals headlined the Other Stage on Friday night.

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Róisín Murphy tells us about her “slab of gold” new album and acting debut at Glastonbury 2022

Róisín Murphy spoke to NME backstage at Glastonbury 2022, telling us what to expect from her upcoming headline performance, new album and acting debut.

The former Moloko turned solo star headlined the West Holts Stage last night (Saturday June 25), but was taking it easy on site before her performance.

“I stayed in watching Larry David on the tour bus last night,” she told NME. “I’ve watched a good few episodes of Curbed. I’m trying to save my energy for the big one tonight.”

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On bringing a touch of David to Worthy Farm, she continued: “I was hoping that they’d have Mick Lynch here, you know – the trade union fellow. You could have him on the Pyramid Stage.”

Murphy was last here to film her dance spectacular as part of last year’s Live At Worthy Farm livestream event. Looking back on how it felt to be at the festival site while audiences were kept at bay due to lockdown restrictions, she said: “It was weird but brilliant. The production was incredible with the filming and the way it was all done, but it was weird because it was wintertime. It was even colder than now!

“We didn’t see anybody else and we shot our bits in isolation, but it was fun and I stayed in a fancy hotel – which I won’t be doing this time!”

Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME
Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME

Meanwhile, Murphy was also recently confirmed to star in new Netflix series Half Bad – an adaptation of the book trilogy by Sally Green, following 16-year-old Nathan, the illegitimate son of the world’s most feared witch.

“I’m playing a witch, which my mother says isn’t a stretch!” Murphy told NME at Glasto. “That’s her way of being modest. It was interesting. I’ve shot it and it’s coming out in the Autumn. My character is a glamorous witch called Mercury. She’s a real minx.”

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After directing her own music videos and visuals, Murphy said that she had taken to acting “out of curiosity”, adding: “Maybe I could make a film one day of my own, or maybe I could do more acting.”

Back to music, Murphy told us that work was “almost finished” on the follow-up to her acclaimed 2020 album ‘Róisín Machine’.

“I’ve worked on and off for the last five years with DJ Koze on my next album,” she said. “It’s in the final stages now, I haven’t played it to anyone and I’m not signed. Now I’m in the process of sending out this slab of gold and seeing how it goes from there.”

She added: “It’s really good! If you put the two things together and add another 22 and a half percent expectation on the top of that, you’re pretty close.”

Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME
Roisin Murphy backstage at Glastonbury 2022. Credit: Parri Thomas for NME

Focussing on her Glasto set, Murphy promised “a lot of spice”.

“It’s really nice to do a long set of an hour and a half,” she said. “We don’t have to condense the energy too much. We’ve got full breadth to express ourselves.

“This is full of sing-along tracks. ‘Familiar Feeling’, ‘Fun For Me’, ‘Forever More’, ‘Overpowered’, ‘Let Me Know’, plus the new songs that the fans know like ‘Something More’ and ‘Let Me Know’ – it kicks off! It’s supposed to be a very joyful set. I don’t always make it this easy for people; especially if I’ve just done an album.”

She added: “I do feel that I am an artist who tests their audience as much as I can. I take it to what I think is the limit, and sometimes I go over the limit. Now is not the time for that. Regardless as to whether I’m playing Glastonbury or not, coming back to play these shows that have been postponed for two years, I just want to do a joyful set – for me as much as for them.”

And what will Róisín Murphy be getting up to after-hours at Glastonbury once her set is finished? “I’m going out, I’m going to go for it tonight,” she said. “I’m supposed to sleep in a yurt, but I don’t suppose that is going to happen. I’ll find some place to lay my head at about 6am or 7am.

“All the old faces are out tonight so I’ll probably go down the old Block 9. I’ll try to stay cool enough because I’ve got a little pop-up show down NYC Downlow tomorrow.”

Check back at NME here for the latest news, reviews, interviews, photos and more from Glastonbury 2022.

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Olivia Rodrigo brings Lily Allen on stage, dedicates ‘Fuck You’ to US Supreme Court

Olivia Rodrigo brought Lily Allen out during her Glastonbury 2022 performance. Check out a clip of the show below.

  • READ MORE: The story of Glastonbury 2022 in glorious photos

Yesterday, the landmark ruling, which guaranteed women in the US the right to terminate a pregnancy, was overturned, after 50 years of being in place.

After Allen joined Rodrigo on the Other Stage, she spoke directly to the audience, explaining that “Roe v. Wade, which is a law that ensures a woman’s right to a safe abortion, a basic human right” had been overturned.

“I’m devastated I’m terrified and so many women and so many girls are going to die because of this,” she continued. “I wanted to dedicate this song to the five members of the supreme court, who showed us that at the end of the day they truly don’t give a shit about freedom.

“This song goes out to the justices, Samuel Alito, Clarence Thomas, Neil Gorsuch, Amy Coney Barret, and Brett Kavanaugh. We hate you.” Then, the pair dueted a fiery rendition of Allen’s hit ‘Fuck You’.

Olivia Rodrigo is one of the most recent Glastonbury performers to speak out against the ruling. Joe Talbot of Idles also spoke out against the overturn of Roe V. Wade yesterday (June 24) during the band’s performance. Right before the band played ‘Mother’ during their festival set, Talbot shared a dedication speaking out on the ruling.

“Of course, this is for every mother and every woman and her right to choose whether she is a mother or not,” Talbot said. “Long live the open-minded long live my mother and long live every single one of you.”

Phoebe Bridgers also addressed the US Supreme Court ruling during her performance yesterday, with a short, but powerful chant: “Fuck the Supreme Court!”

Taking to the John Peel Stage last night – just hours after the ruling was confirmed – Bridgers told her Glastonbury crowd: “This is my first time here and, honestly, it’s super surreal and fun, but I’m having the shittiest day.” An outspoken advocate of abortion rights, the frustrated singer-songwriter asked if any Americans were among her crowd, before instructing them to chant, “Fuck the Supreme Court!”

Over the last day, dozens of artists have spoken out against the official overturning of Roe v. Wade. Lizzo is another who is supporting abortion rights via monetary contributions, partnering with Live Nation – who are presenting her upcoming ‘Special’ tour – to donate $1million (£815,000) in funds to organisations offering safe access to abortions.

Check back at NME here for the latest news, reviews, interviews, photos and more from Glastonbury 2022.

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Neil Young to immortalise 2019 tour on ‘Noise & Flowers’ live album and film

Neil Young has announced his plans to release ‘Noise & Flowers’, a live album and film compiled from material recorded during his most recent tour of Europe and the UK.

  • READ MORE: Neil Young & Crazy Horse – ‘Barn’ review: rugged and rural beauty, with a sense of hope

Young embarked on the nine-date run with Promise Of The Real as his backing band, taking in four shows in Germany – as well as one each in Denmark, Belgium, the Netherlands, England and Ireland – across July of 2019. The album and film will feature recordings from all of the shows; the CD and two-disc vinyl release will sport 14 tracks, but it’s unclear if the film (which was co-directed by Bernard Shakey and DH Lovelife) contains the same content.

Both iterations of the release will land on August 5 via Warner Records, with pre-orders available here. The first preview of the release – Young and the Real’s performance of ‘From Hank To Hendrix’ – was shared alongside the announcement. Have a look at that below:

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The tour that ‘Noise & Flowers’ chronicles took place shortly after the death of Young’s longtime manager, Elliot Roberts. In a new blog post, Young explained that he and his wife were en route to the airport – where they would fly to Europe ahead of the tour’s start – when he learned of Roberts’ passing. They returned home for his funeral, but powered on with the tour nonetheless.

“During the tour,” Young wrote, “we had a poster of Elliot on a road case, right where he always stood during all shows. Everyone who was with us felt that this tour was amazing for its great vibe. The Real and I delivered for Elliot.”

In the liner notes for ‘Noise & Flowers’ (per American Songwriter), Young further expounded: “Playing in his memory [made it] one of the most special tours ever. We hit the road and took his great spirit with us into every song. This music belongs to no one. It’s in the air. Every note was played for music’s great friend, Elliot.”

Check out the cover art and tracklisting for ‘Noise & Flowers’ below:

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1. ‘Mr. Soul’
2. ‘Everybody Knows This Is Nowhere’
3. ‘Helpless’
4. ‘Field Of Opportunity’
5. ‘Alabama’
6. ‘Throw Your Hatred Down’
7. ‘Rockin’ In The Free World’
8. ‘Comes A Time’
9. ‘From Hank to Hendrix’
10. ‘On The Beach’
11. ‘Are You Ready For The Country’
12. ‘I’ve Been Waiting For You’
13. ‘Winterlong’
14. ‘F***in’ Up’

Before dropping ‘Noise & Flowers’, Young will release ‘Toast’, a previously shelved album he recorded with Crazy Horse back in 2001. Described by Young as “heavy and distressed [and] brimming with electrifying tension”, that album – named for the San Francisco studio in which it was minted – will be released on July 8 via Reprise.

According to Young, ‘Toast’ is “an album that stands on its own in [his] collection”. He cited the record’s melancholic tone as a reason why it never left the studio, explaining in another blog post: “Unlike any other, ‘Toast’ was so sad that I couldn’t put it out. I just skipped it and went on to do another album in its place. I couldn’t handle it at that time. 2001.”

Both the release of ‘Toast’ and ‘Noise & Flowers’ come amid Young’s ongoing series of archival reissues. In April, he released the ‘Official Release Series Volume 4’ box set, comprising three classic albums from the 1980s – one of his own, and two collaborative efforts – as well as a rare EP that was only ever sold in Australia and Japan.

His most recent album was another effort with Crazy Horse, ‘Barn’, which landed last December. NME gave it a four-star review, with Rhys Buchanan writing: “Raw and rugged at every turn, the album captures the telepathic bond that these rock’n’roll renegades have cultivated over the years.”

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Phoebe Bridgers chants “fuck the Supreme Court” during Glastonbury set

During her set at this year’s Glastonbury festival, Phoebe Bridgers addressed the US Supreme Court’s ruling to overturn Roe v. Wade with a short, but powerful chant: “Fuck the Supreme Court!”

  • READ MORE: Phoebe Bridgers live at Glastonbury 2022: a triumphant – and powerful – victory lap

In early May, leaked documents showed that the US Supreme Court voted privately to overturn Roe v. Wade, a 1973 case that made abortion legal on a federal level. That decision was officially ruled into place yesterday (June 24), meaning US states will be able to set their own laws regarding the legality of abortions.

As Politico reports, 23 states are expected to make abortion illegal – at the time of writing, five already have, and a further 11 are in the process of finalising anti-abortion laws.

Taking to the John Peel Stage last night – just hours after the ruling was confirmed – Bridgers told her Glastonbury crowd: “This is my first time here and, honestly, it’s super surreal and fun, but I’m having the shittiest day.” An outspoken advocate of abortion rights, the frustrated singer-songwriter asked if any Americans were among her crowd, before instructing them to chant, “Fuck the Supreme Court!”

Following the chant, Bridgers continued: “Fuck that shit. Fuck America. Like, fuck you. All these irrelevant, old motherfuckers trying to tell us what to do with our fucking bodies… Ugh. I don’t know, fuck it, whatever.”

Watch footage of the moment below:

Bridgers was among a handful of artists addressing the Roe v. Wade overturning at Glastonbury. IDLES’ Joe Talbot, for example, dedicated ‘Mother’ to “every mother and every woman and her right to choose whether she is a mother or not”.

During Billie Eilish‘s set, she pre-empted an acoustic rendition of ‘Your Power’ by explaining that the song is “about the concept of power and how we always need to remember not to abuse it”. She continued: “Today is a really really dark day for women in the US. And I’m just going to say that because I can’t bear to think about it anymore in this moment.”

When the aforementioned documents were leaked in May, Bridgers responded with a candid post discussing her own abortion experience. Revealing that she had an abortion while on tour last October, the singer-songwriter explained: “I went to planned parenthood where they gave me the abortion pill. It was easy. Everyone deserves that kind of access.”

In a new interview with The Guardian, Bridgers said she was surprised by the public reaction her post received. She told the paper: “I’ve always found comfort in talking to people in passing – when someone’s mom says: ‘I had an abortion when I was a teen.’ It normalised it for me. I was, ‘All right, it’s time to throw my hat into that pool.’ That’s not a phrase, I just made that up. But I didn’t think about it, really, at all.”

Bridgers went on to explain her intention in sharing her experience, being to make it clear that “as a white, upper-middle-class woman from California, even if it were to be overturned, I will always have access”. She continued: “I have a friend who went to medical school – every time I need a doctor, I say, ‘Do you have someone that you recommend?’ So I would just go: ‘Hey, where do I go for the thing? Wink-wink.’

“The people with access will always have access. What pisses me off is that we’re not talking about me. It’s so easy: I played in Texas the same week, and then I went home and was like: oh my God. Made the appointment. It was 12 hours of my life.”

Bridgers also addressed the trend of well-meaning fans mislabelling her experience on her behalf: “[There were] people with good intentions saying: ‘Don’t say it was easy for you to make that decision – it was clearly really emotional.’ And I wasn’t fucking emotional at all. Hormonally crazy! But I don’t think you should assign ‘it tore me up’ to me. No! I don’t think about it as a baby, of course not.”

In addition to her vocal support, Bridgers’ activism for abortion rights includes the donation of $1 from every ticket bought to her current tour, which will go towards an organisation helping undocumented people in the US access safe abortions.

Over the last day, dozens of artists have spoken out against the official overturning of Roe v. Wade. Lizzo is another who is supporting abortion rights via monetary contributions, partnering with Live Nation – who are presenting her upcoming ‘Special’ tour – to donate $1million (£815,000) in funds to organisations offering safe access to abortions.

Check back at NME here for the latest news, reviews, interviews, photos and more from Glastonbury 2022.

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Lizzo and Live Nation pledge $1million to abortion organisations following overturn of Roe v. Wade

Following the official overturning of Roe v. Wade yesterday (June 24), Lizzo has partnered with Live Nation – who are presenting her upcoming ‘Special’ tour – to donate $1million (£815,000) in funds to organisations offering safe access to abortions.

  • READ MORE: The Big Read – Lizzo: “If I feel worthy, then everyone gonna want to eat my pussy”

In early May, leaked documents showed that the US Supreme Court voted privately to overturn Roe v. Wade, a 1973 case that made abortion legal on a federal level. That decision was officially ruled into place yesterday, meaning US states will be able to set their own laws regarding the legality of abortions. As Politico reports, 23 states are expected to make abortion illegal – at the time of writing, five already have, and a further 11 are in the process of finalising anti-abortion laws.

Lizzo is the latest in a growing list of artists speaking out against the ruling. In a series of new posts made on social media, the singer declared she would be pledging $500,000 (£407,500) of proceeds earned from her upcoming North American tour – which is slated to kick off in September – to Planned Parenthood and the National Network of Abortion Funds (NNAF). Live Nation has agreed to match her donation, making the total pledge $1million.

Lizzo had initially stated that her full donation would be made to Planned Parenthood, however after receiving feedback from fans, she updated her pledge to include other abortion rights and service organisations (namely the NNAF). “The most important thing is action [and] loud voices,” she wrote in a follow-up Tweet. “[Planned Parenthood, the NNAF and] organizations like them will need funding to continue offering services to people who are most harmed by this ban.”

In addition, Lizzo encouraged fans to make donations of their own, and sign Planned Parenthood’s ‘Bans Off My Body petition’, through her Propellor initiative Lizzo Loves You. It ties in with her third annual Juneteeth Giveback competition, whereby fans can exchange points for entries to “be a Lizzo BIG GRRRL” for a day. Fans will earn 10 points for singing the aforementioned petition, and 10 points for every dollar donated to Planned Parenthood. Find more details here.

Lizzo’s North American ‘Special’ tour will kick off in late September and roll into mid-November. There are 25 dates on the itinerary, all of which taking place in arenas and stadiums, with Latto serving as the main support act. The tour will support Lizzo’s fourth studio album, ‘Special’, which is set to drop on July 15. See all of the details for the tour here.

Over the last day, dozens of artists have spoken out against the official overturning of Roe v. Wade. Several have also used their sets at Glastonbury Festival to share their disdain for the outcome: IDLES’ Joe Talbot, for example, dedicated ‘Mother’ to “every mother and every woman and her right to choose whether she is a mother or not”.

During Billie Eilish‘s set, she pre-empted an acoustic rendition of ‘Your Power’ by explaining that the song is “about the concept of power and how we always need to remember not to abuse it”. She continued: “Today is a really really dark day for women in the US. And I’m just going to say that because I can’t bear to think about it anymore in this moment.”

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Billie Eilish speaks out on Roe v. Wade during Glastonbury set

Billie Eilish has spoken out against the overturning of Roe v. Wade during her Glastonbury headline set.

  • READ MORE: Billie Eilish on the cover: “I owe it to everyone to put on a good Glastonbury show”

Tonight (June 24), Billie Eilish has made history and become the youngest ever solo headliner of Glastonbury Festival, joining Paul McCartney and Kendrick Lamar at the top of the bill.

Opening with ‘Bury A Friend’, her set included tracks like ‘NDA’, ‘Oxytocin’ and ‘You Should See Me in a Crown’. “Are you ready to have some fun?” she said, before launching into ‘My Strange Addiction’.

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Joined by her brother Finneas, the pair played ‘Your Power’ together on the stage with acoustic guitars.

“It’s about the concept of power and how we always need to remember not to abuse it,” Eilish said. “Today is a really really dark day for women in the US. And I’m just going to say that because I can’t bear to think about it anymore in this moment.”

Eilish joins multiple musicians in sharing her reaction to the Supreme Court’s decision to overturn Roe v. Wade today (June 24), including Taylor Swift who tweeted: “I’m absolutely terrified that this is where we are – that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”

The overturning of the landmark case means abortion will no longer be protected as a federal right in the US for the first time since 1973, and each state will be able to decide individually whether to restrict or ban abortion.

Speaking to NME for this week’s Big Read cover story ahead of her headlining performance, Eilish delved into her new material, her work with sibling Finneas, and her pursuit of happiness in a transitional period in her life.

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“I owe it to everyone to put on a good Glastonbury headline set,” she said. “It’s heart-warming to see how much people care about it and think that this is going to be the best weekend of their lives.”

She added: “I’m really crossing my fingers that it’s a good vibe out there. I’m hoping that the crowd is ready to have as much fun as I am ready to have, and not just be there to watch – I need energy coming back from the crowd to bounce off”.

Elsewhere, she shared that she felt it “was so cool to be a young woman and headline festivals, because it’s so male-dominated,” adding that she had felt “hopeless” for the future of women in music in 2017 and 2018.

In other news, NME have announced a limited edition print magazine to celebrate our Big Read cover story with Eilish.

In honour of her historic Glastonbury set, 1000 copies of a special limited edition magazine with Billie’s cover feature will be available. Stay tuned to NME.com and socials to find out how to get your hands on a copy very soon.

Check back at NME here for the latest news, reviews, interviews photos and more from Glastonbury 2022.

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Taylor Swift, Pearl Jam and more react as Supreme Court overturns Roe v. Wade

Multiple musicians have shared their reactions to the Supreme Court’s decision to overturn Roe v. Wade today (June 24).

In May, a draft opinion penned by Justice Samuel Alito argued that the 1973 landmark ruling was “egregiously wrong from the start”, adding that “it is time to heed the Constitution and return the issue of abortion to the people’s elected representatives.”

Though the draft was verified as authentic, it was noted at the time that draft opinions can be subject to multiple drafts and vote-trading so the court’s decision was not final.

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But now, it has been confirmed that the landmark case has been overturned, meaning abortion will no longer be protected as a federal right in the US for the first time since 1973, and each state will be able to decide individually whether to restrict or ban abortion.

Notable figures in the music industry have expressed their outrage on social media, including Taylor Swift, who shared a letter that Michelle Obama had written about the decision.

“I’m absolutely terrified that this is where we are,” she wrote, “that after so many decades of people fighting for women’s rights to their own bodies, today’s decision has stripped us of that.”

Pearl Jam, meanwhile, shared a video on Instagram, alongside the caption: “No one, not the government, not politicians, not the Supreme Court should prevent access to abortion, birth control, and contraceptives. People should have the FREEDOM to choose.

“Today’s decision impacts everyone and it will particularly affect poor women who can’t afford to travel to access health care. We will stay active, we will not back down and we will never give up.”

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During their Glastonbury 2022 performance, Joe Talbot of Idles also spoke out against the decision.

“Of course, this is for every mother and every woman and her right to choose whether she is a mother or not,” Talbot said. “Long live the open-minded long live my mother and long live every single one of you.”

See more reactions below.

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A post shared by Jack White (@officialjackwhite)

In May, Halsey aired a video of protest footage and facts about abortion statistics during her ‘Love And Power’ tour opener and joined the likes of Billie Eilish, Megan Thee Stallion and Phoebe Bridgers in signing a letter denouncing the draft opinion.

Harry Styles also spoke out about the leaked Supreme Court draft opinion at the time.

Speaking to Howard Stern in an interview [per Teen Vogue], Styles said of the potential of Roe v. Wade being overturned: “I think it’s quite scary to see how far backwards we’re going in a lot of ways. There should be backlash and uproar for these things. There’s a lot of people who are taking…the right steps to try to make positive things [happen].”

He added that, in his opinion, no one “should be able to make decisions about anyone else’s body – it doesn’t really make any sense to me”. “It’s just so backwards,” he said.

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Bop Shop: Songs From Allison Ponthier, Kidd Kenn, Fletcher, And More

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This week, in honor of Pride Month, we've been celebrating Queer Music Week by highlighting how TikTok has become a key platform for emerging LGBTQ+ musicians and the ways pop artists have gotten bolder and more explicit in singing about queer sex. That's all in addition to conversations with forward-thinking LGBTQ+ artists Blue Rojo, Muna, and Trixie Mattel.

Now, for this week's music round-up, we shine the spotlight on LGBTQ+ musicians making art that feels vital to this moment. Get ready: The Queer Music Week Bop Shop is open for business.

  • Kidd Kenn: "Body"
    https://www.youtube.com/watch?v=n8pr9O_P8ig

    Chicago's Kidd Kenn has been rapping since he was an actual kid(d), which, all things considered, was not that long ago. But all that practice has paid off. "Body," the dynamic talent's latest single, is extraordinarily bouncy, packed tight with memorable zingers ("House like a maze / Bitch, I never age") delivered in an unbeatable flow. The charisma carries over to the video, which finds him playing with his stage name — as a play thing in complete control. Attention, Greta Gerwig: There's still time to cast Kidd Kenn for a cameo in your upcoming Barbie movie. (At this point, he seems like the only person not in it?) —Patrick Hosken

  • Fletcher: “Her Body Is Bible”
    https://youtu.be/-kL1jZXlC5g

    If you’re feeling intense sapphic feelings for a beautiful lady, Fletcher can relate. The New Jersey-based singer-songwriter compares the discovery of her feelings for her lover to religious ecstasy: “I found God / The moment I put my lips on yours,” she sings. She isn’t shy to say that her blood is running wild (“You’re so hot, I’m freaking out”), or that she would rather see her love interest unclothed (“I like your T-Swift T-shirt on the ground”) and worship her in the dim light. —Athena Serrano

  • Sudan Archives: “Selfish Soul”
    https://www.youtube.com/watch?v=eaY8kI0oEpA

    Sudan Archives combats Eurocentric beauty standards with this sumptuous song. She chooses to accept what makes her feel whole and feeds her “selfish" soul, alternating between her fabulous buzzcut and bright pink wig in the music video. The singer and her crew of Black femmes bask in the freeform glory of their collective individuality, swaddled by the joyful whirlwind of her melodic violin. “OK, one time if I grow it long,” she sings. “Am I good enough, am I good enough / About time I embrace myself and soul.” —Gwyn Cutler

  • Saiah: “5 Minutes Til Dawn”
    https://www.youtube.com/watch?v=86qHGLtRWgA

    Arizona-based pop-punk singer Saiah makes being cool look effortless in their new banging, late-night bop “5 Minutes Til Dawn.” Crafting an ethereal space where their pop, punk, and rock influences intersect, the queer Black singer-songwriter waxes poetic about a waning romance. “And I feel better alone / You been in the city cause you want to be one,” they sing, before the track’s chorus builds to a cathartic scream of “5 minutes till dawn.” Thanks to its stylish visual and nocturnal appeal, it feels like a contemporary “Sunglasses at Night,” complete with yearning and the dual threats of falling in love or falling apart. —Carson Mlnarik

  • Allison Ponthier: "Hollywood Forever Cemetery"
    https://www.youtube.com/watch?v=-AVwsth4urg

    Campy as hell and charming in how it really goes there, Allison Ponthier's latest visual is an ode to one of the most famous (and glamorous) graveyards in the world. Like she did with "Cowboy," the Texas-born singer-songwriter leans into B-movie terrain here, this time to throw a spooky party in the catacombs as she sings the biggest question: "Who are you after you die?" Sounds like a good, if existential, time to me. —Patrick Hosken

  • Durand Bernarr: “Company”
    https://youtu.be/o71zR5uE2P4

    I love when a song oozes sex appeal and still champions mutual pleasure, trust, and comfort. Rising American singer-songwriter and producer Durand Bernarr's single, "Company," from his 2020 album Dur&. For starters, the song hooks the listener instantly with its opening line: "I'm good camaraderie / Your submission's safe with me / I just wanna make you feel good internally." Bernarr sets the scene: "Know you're not used to having company over / So let me sing a little lullaby/ When I get in, I'ma help you ease your mind." Runs, harmonies, and sensual lyrics converge in this song that is as confident as it is commanding. This lullaby is taking us to bed, but we aren't sleeping. —Virginia Lowman

  • Queen: “Good Old-Fashioned Lover Boy”
    https://www.youtube.com/watch?v=PI3LAgGBxqU

    The lead vocalist of the classic rock band Queen, the late bisexual icon Freddie Mercury sings about being an old-fashioned lover on this throwback track. He likes doing traditional things with his partner on a night of romance, whether it’s dancing the tango or dining at the Ritz in London. But he also feels something inside sizzling, too: “I learned my passion / In the good old-fashioned / School of lover boys,” Mercury sings with a wink. Say the word, your wish is his command. —Athena Serrano

  • Sam Smith: “Love Me More”
    https://www.youtube.com/watch?v=H1hDzq98WIY

    Pride is a time for partying, but also for finding strength in your identity. “Love Me More,” Sam Smith's latest offering, finds the sweet spot between sappy self-empowerment and melancholic bop as they sing about their journey to self-acceptance. “Every day I’m tryin’ not to hate myself / But lately, it’s not hurtin’ like it did before,” they sing, resolving that “Maybe I am learning how to love me more.” What starts as a solemn reflection consisting of their unmistakable vocals and low piano chords builds into a triumphant and swaggering pop track, complete with a holy chorus. Its self-referential visual is a gem for anyone who’s followed the British soul singer’s career closely, with nods to the video for their debut single “Stay With Me,” their retooled third album “To Die For,” and vignettes of the unapologectically queer community that’s formed around them. —Carson Mlnarik

  • Betty Who: “Blow Out My Candle”
    https://www.youtube.com/watch?v=zkt9EGkG3A4

    Betty Who is back with an upbeat ‘80s-inspired pop anthem about her newfound self-love and confidence. “I won't stop running down that road / I’ll keep dancing 'til I die,” she sings. “You can blow out my candle / But you'll never put out my fire.” A fantastic banger for dancing or working out (as the music video suggests), and always for expressing yourself spontaneously and freely. Don’t stop running down that road. —Athena Serrano

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Trixie Mattel’s Love Letters To Small Towns And Big Stars

By Heather Beattie

Trixie Mattel is at the airport — again. After wrapping up a five-week tour across Europe, the multi-talented drag icon is briefly headed home to Milwaukee, Wisconsin, before plunging back into a relentless schedule that includes launching her TV series Trixie Motel, embarking on the second leg of the Trixie & Katya Live tour, and releasing her fourth studio album. “It’s been Strugglina Aguilera,” Mattel tells MTV News over the phone. Anyone would be worn out by what Mattel has on her plate, but mere minutes into listening to her discuss her double LP The Blonde & Pink Albums, it’s evident that Mattel’s love for creating music is limitless.

The Blonde & Pink Albums, out June 24, is Mattel’s biggest musical venture to date. “It's twice the music as usual, twice the songwriting, and it’s because I was home twice as much the last two years.” Mattel says. The album, which follows her 2020 release Barbara, is a step away from the folk-heavy offerings for which Mattel has become known. The production is massive, with sounds reminiscent of new wave icons The Go-Go’s and witty, evocative lyrics that make it clear Mattel herself is holding the reins.

“We made music that Trixie would play live,” Mattel explains. The album exudes confidence and an undeniable understanding of the persona that 32-year-old Brian Firkus has crafted over the last 15 years. “Songs like ‘New Thing,’ that’s stuff I would never write for myself to play out of drag, but that I put together knowing it would be really fun to do in the wig.” If Mattel’s goal was to make an album that more than ever embodies the character of Trixie, she succeeded.

Like all of Mattel’s endeavors, the project is bursting with pop-culture references. “She was holding your hand, so in love with you / But I’m not trying to be anybody’s Jolene,” she sings on “Boyfriend,” a breezy B-52’s-inspired track about pining after someone in a relationship that nods to Dolly Parton. But don’t be mistaken — while fans may associate Mattel with Dolly, there’s another country legend close to Mattel’s heart: Loretta Lynn.

https://www.youtube.com/watch?v=gR1pslYotM4

She calls Lynn “my number-one diva,” and makes her the subject of “C’mon Loretta,” the high-powered third single off of the album. “The Loretta experience, songs about drinking or being from a shitty home, that spoke to me a lot more than the high glamour of Dolly Parton.” Mattel speaks candidly about growing up in an abusive home environment, referring to it as her “old material” on the phone. She has built a career out of bringing light to the dark sides of life, and doing so in an ode to one of her biggest inspirations translates impressively. “[It becomes] more about empowerment and overcoming.”

Lynn isn’t the only evident influence at play. Glimpses of Nancy Sinatra appear in the album’s aesthetics, and Mattel even recites the singer’s famous “Are you ready, boots?” line in “Love You in HiFi.” Mattel gushes over Sinatra, cheekily noting that the ’60s icon follows her on Instagram. “Perfect face, big bubble hair, and seductive, sweet little songs. I just love her.”

If Sinatra is the vision for Mattel’s aesthetic, it’s her pal Michelle Branch that cemented her love for songwriting. Listening to Mattel talk about their friendship is like speaking to someone who won the lottery. “Can you believe that?” she asks proudly after mentioning “White Rabbit,” a song that features Branch. The mellow alt-rock tune would sound right at home on Branch’s classic 2001 album The Spirit Room. “She made me realize that somebody writes music. I thought there was a lot of magic in turning rhymes and phrases and making them interesting and fresh-sounding, but at the same time easy to digest,” Mattel says.

https://www.youtube.com/watch?v=ErfY7Q4gwHQ

A preteen Mattel began songwriting and playing guitar at home in Wisconsin around the time of The Spirit Room’s release. “I spent whole summers with just my family in a trailer in the country. I played and wrote folk music all day, every day.” Home is a thread that runs through this record, and it allows Mattel to accomplish some of her most thrilling compositions to date. Bracketing the album are two songs: “Goner,” the album's opener, and “This Town,” the penultimate track and second single. Sonically, the songs couldn’t be more different, and yet the two serve as different sides of the same coin.

“I wrote ‘Goner’ at a time when I was really interested in making sure that I had a tether to [Wisconsin].” The sparkling and upbeat song tells the story of returning home after becoming successful from the perspective of those you left behind. It’s fantastical, overly complimentary, a little condescending, and totally Trixie. “It’s sort of patronizing, talking about how this person is so beautiful and successful. Ironically, I’m pretending to be that person.” The perspective from which it is told caters to the often unspoken question asked when we leave — what will everyone think? “I heard somebody say that I was a ‘goner,’ [and that] ‘I’m not what I used to be,’ Mattel explains. “I really fixated on that. By earnestly trying to do right by my friends and family, I guess I spent enough time away that it had an adverse effect.”

Mattel’s love for her home state bleeds through, both in conversation and song. If “Goner” focuses on Milwaukee and Trixie, “This Town” is a bittersweet letter to small-town Wisconsin and a vulnerable look at the person under the wig. When featured folk musician Shakey Graves sings, “I hear you played on the radio, but you changed your name and you can’t go home,” the melancholy is so thick that it settles in your bones. The return to a folk sound to close out the album (including the closer, a stripped-down version of “Vacation” by The Go-Go’s) packs an effective punch after the plugged-in tracks that precede it. There is room here for both Trixie Mattel and Brian Firkus.

Jon Sams

“I love being from a small town. It formed every part of me,” Mattel remarks. “Not every small town is closed-minded, you know? Small towns are diverse. It’s like saying cities are filled with all gay people. That’s not true either.” The cliché for queer people has long been, “leave home, big city, never look back.” However, at a time when anti-LGBTQ+ rhetoric and actions are unfurling across the country, the song serves as a reminder that, more than ever, it’s crucial to remember the marginalized communities outside of major metropolises.

As Mattel prepares to release The Blonde & Pink Albums, she is all too aware of the way people discredit her and her “elbow grease.” “Because you wear a wig, it usually gets called into question right away,” she notes. “Every time I put out a record, I have to deal with reviews that say, ‘This is actually good.’ My show was defined as the ‘sleeper hit.’ Why was it the sleeper hit? Because people didn’t think the person in a wig could put on a great show.”

Amid an already busy schedule, Mattel played in Asbury Park on June 4, with a setlist that included songs from the new record. Any person that watched her do what she does best that day will tell you one thing: Trixie Mattel is a rock star.

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Arthur Russell Calling Out Of Context / Instrumentals (reissues, 2004, 2017)

Thirty years after his Aids-related death, aged just 40, Arthur Russell’s music still has a luminous freshness and richly emotional power. The cult composer, cellist and downtown New York scene-hopper amassed a vast body of work spanning avant-classical chamber pieces, disco and dub, experimental electronica, folksy Americana and Buddhist bubblegum pop, but he released very little solo material in his lifetime. Russell’s radical queerness and genre-blurring musical promiscuity confounded peers and record labels, but he also stifled his own potential with painstaking perfectionism, endlessly hoarding and reworking pieces that deserved a public airing.

  • ORDER NOW: The Beatles are on the cover of the latest issue of Uncut

Russell’s posthumous reputation has blossomed over the last two decades, his legacy celebrated in books and films, his songs sampled by Kanye West and covered by Tracey Thorn, Hot Chip, Sufjan Stevens and more. This resurgence is largely thanks to the meticulous efforts of his former partner Tom Lee, designer Melissa Zhao Jones and Steve Knutson, boss of Portland-based boutique label Audika, who have assembled an ongoing series of mostly glorious anthologies excavated from Russell’s massive tape archive. In partnership with Rough Trade, these Audika albums are finally receiving a full physical launch in Europe.

First released in 2004, Calling Out Of Context became a key early stepping stone in Russell’s critical rediscovery and wider dissemination to a new, younger audience. Lovingly packaged and curated, it combines tracks from his unreleased 1985 album Corn alongside archive material that he spent years honing for a long-promised, forever-delayed release on Rough Trade. As an entry point into Russell’s sprawling canon, the music is impressively high calibre but hardly comprehensive, emphasising his art-pop singer-songwriter side over his club-friendly or contemporary classical work. That said, these slippery compositions still range freely across genres, inventing a few new ones along the way.

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Cautiously embracing the dominant new wave and electro-pop aesthetic of the era, Russell deploys drum machines and synthesisers alongside regular human collaborators including trombone/keyboard player Peter Zummo and percussionist Mustafa Khaliq Ahmed. But like almost everything he recorded, these semi-mechanised tunes also feel warmly organic, soulful and sensual, with an emphatically human heartbeat. There is a seductive smalltown sweetness to Russell’s airy narcotic reveries, his stream-of-consciousness lyrics peppered with nostalgic yearning for the wide-open skies and lakes of his Iowa childhood, notably on the deliciously woozy “That’s Us/Wild Combination”. He radiates boyish innocence, even when hymning his carnal intoxication with sex in the serotonin-drenched funk-pop earworm “Get Around To It”.

On “Calling Out Of Context” itself, with its bustling urban-tropical percussion and jittery art-rock jangle, Russell stakes a claim in the avant-world terrain explored by his New York contemporaries and sometime collaborators Talking Heads. The skeletal lo-fi Toytown disco-pop of “Make 1, 2” and infectiously weird “Hop On Down”, a slinky sunshine groove punctuated by bursts of electromagnetic crackle, could almost be Prince at his most experimental. The fact that Russell envisaged both as possible singles shows just how forward-thinking he was, or perhaps how gloriously unmoored from commercial reality.

Heard through 21st-century ears, it is striking just how contemporary much of this music sounds almost 40 years later. With their hypnotic machine rhythms, drones and throbs and loopy vocal ripples,“The Platform On The Ocean” or “Calling All Kids” feel like prescient blueprints for Radiohead’s mid-career post-rock rebirth. Meanwhile wafting, weightless, loose-limbed dream-funk confections like “You And Me Both” or “Arm Around You” could easily be the work of some hip millennial electro-soul soundscaper on XL or Erased Tapes.

Drawn from live work-in-progress performances spanning 1975 to 1978, Instrumentals first appeared in botched and truncated form in 1984. It took another 33 years before Audika unveiled this expanded, lovingly restored, double-album version in 2017. The project has esoteric roots: inspired by the photography of his Buddhist teacher, Yuko Nonomura, Russell had an epiphany that opened his ears to the magical, transcendent power of American bubblegum and easy-listening music. The untitled compositions spanningVolume 1are mostly mellifluous lo-fi chamber-pop pieces steeped in wide-eyed Americana, their bluegrass twang and jug-band honk overlaid with crackle and feedback and dubby dissolves. There are echoes of Copeland and Ives, Gershwin and Bernstein here, but also Brian Wilson and Beirut’s Zach Condon.

Volume 2 of Instrumentals consists of a more polished, expansive, symphonic piece played by the Brooklyn Philharmonic’s CETA orchestra, a gorgeous pastoral sound-painting couched in silken strings and mournful brassy fanfares. The conductor is Julius Eastman, another overlooked queer polymath on the fringes of New York’s 1970s minimalism scene. Rounding off this selection are two of Russell’s most uncompromising sonic experiments, both recorded live in 1975. “Sketch For The Face Of Helen” is a musique concrète collage of drones, analogue electronics and the sampled roar of a Hudson river tugboat, while the proto-ambient tone poem “Reach One” features two Fender Rhodes pianos engaged in a drowsy, gently ebbing dialogue.

Fastidious listeners might nit-pick a few repetitions, audio glitches and overstretched ideas across these albums. But as an overall listening experience they are voluptuous, immersive and soul-soothing. Russell’s spellbinding music seems to float in its own beatific glow, always generous, never demanding, forever fluid, rarely fixed. There are whole continents of sound contained in these two collections alone that a curious explorer might easily get lost inside, perhaps never to emerge again.

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Barbara Keith Barbara Keith

When Barbara Keith, acoustic in hand, headed from Massachusetts to Greenwich Village during the height of the folk era, she became one of countless aspiring troubadours tentatively following in Dylan’s footsteps, singing folk standards at Café Wha? and Gerde’s Folk City. She fell in with a bunch of Café Wha? regulars, and they formed the short-lived band Kangaroo. By the time they’d scored a record deal, Keith was starting to write songs, and soon after the group dissolved, she was signed by MGM/Verve, with Peter Asher assigned to produce her self-titled 1969 debut album. Although the LP caused barely a ripple, several labels saw enough promise in the youngster to keep tabs on her.

  • ORDER NOW: The Beatles are on the cover of the latest issue of Uncut

During a brief fling with A&M in 1970, Keith had her first taste of success when her song “Free The People” was covered by Delaney & Bonnie and Barbra Streisand, dramatically increasing her visibility. Before long she was auditioning for Columbia chief Clive Davis and Warner/Reprise Chairman Mo Ostin, who personally signed Keith to a three-album deal. Producer/A&R rep Larry Marks (Gene Clark, Phil Ochs, The Flying Burrito Brothers), who’d become her co-manager, got the job of helming her LP, and his first move was recruiting the very best musicians in LA to play on it.

Ostin had signed Keith at the perfect time – or so it seemed to the Warners brass on her arrival in 1972. Joni Mitchell had just jumped to Asylum and Bonnie Raitt was just getting started, so there was a void to be filled, and the 26-year-old Keith appeared to have the goods to become Mitchell’s heir apparent. She’d grown exponentially as a songwriter and had matured into a strikingly original singer, the urgency of her delivery further enlivened by her “hummingbird” vibrato, as one critic described it. But what most distinguished Keith from her contemporaries was her utter fearlessness, which was apparent from the opening notes of the second LP bearing her name.

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Who in their right mind would dare cover Dylan’s “All Along The Watchtower” after Jimi Hendrix had made it monumentally, indelibly his own? Keith didn’t just cover it, she opened the album with it, her feral vocal powering through a gauntlet formed by John Brennan’s galloping acoustic, Lee Sklar’s rumbling bassline and David Cohen’s pecking wah-wah licks. By the time Jim Keltner joins the fray, the performance has attained a sinewy ferocity. “…Watchtower”, like the bulk of the LP, was cut live off the floor, as Marks skilfully matched the players with Keith’s songs. The austere ballad “Burn The Midnight Oil No More” contains nothing more than Sklar’s bass and Keith’s regal piano amid a gossamer Nick DeCaro string arrangement. At the other extreme are “Shining All Along”, which gets a full-bodied, Band-like treatment, as Lowell George, pianist Spooner Oldham, organist Mike Utley, drummer Jim Keltner, Sklar and percussionist Milt Holland wail away in sepia-toned bliss, and the vivid road anthem “Detroit Or Buffalo”, which climaxes with pedal-steel maestro Sneaky Pete Kleinow and George conjuring a gilded rhapsody out of steel cylinders sliding over strings.

A half century later, “Free The People”, with its secular-gospel uplift, seems rooted in the era of Nixon and Vietnam, in contrast to the timeless country-folk ballad “The Bramble And The Rose” and the rousing rock anthem “A Stone’s Throw Away”. Keith had co-written the latter song with Doug Tibbles, who’d recently abandoned a successful career as a sitcom scriptwriter to try his hand at drumming for a living. He was enlisted to keep the beat during rehearsals, and it wasn’t long before Tibbles and Keith fell madly in love, turning her priorities upside down. Soon after the album was completed, she returned her advance money and blithely walked away from a career filled with seemingly limitless potential. Reprise released Barbara Keith in 1973 with zero fanfare, and among the handful of people aware of the album’s existence were singers from Valerie Carter to Olivia Newton-John, who were delighted to cover its songs.

Keith and Tibbles spent a couple of decades in LA before eventually settling back in Massachusetts, where they raised two sons and, in 1998, when elder son John was 11, formed a family band, The Stone Coyotes. Early on, Elmore Leonard became a big fan, describing the band as “AC/DC meets Patsy Cline”. He used Keith’s lyrics in his 1999 novel Be Cool, which was released with a Stone Coyotes CD sampler, and took the band on a tour promoting the book. To date, they’ve filled 16 LPs and three EPs with songs penned by the prolific Keith, who’s as energised as ever at 76. If ever an artist’s story begged to be made into a biopic, it’s Barbara Keith’s topsy-turvy saga.

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Michelle Obama shares high praise for Beyoncé’s new track ‘Break My Soul’

Michelle Obama has shared high praise for Beyoncé’s new track, ‘Break My Soul’, telling the star that she “can’t help but dance and sing along” to it.

  • READ MORE: Beyoncé’s new song ‘Break My Soul’ is a confidence-oozing comeback that embraces nu-disco

The pop icon announced last week that she would be releasing her seventh solo album, ‘RENAISSANCE’ – the follow-up to 2016’s acclaimed ‘Lemonade’ – on July 29.

On Tuesday morning (June 21), she surprised fans by dropping the album’s first single, ‘Break My Soul’ – a house-inspired dancefloor cut that NME‘s Kyann-Sian Williams called “a groovy self-love track” that oozes confidence in a four-star review.

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Among the fans of Beyoncé’s new single is former First Lady Michelle Obama, who took to Twitter to share her thoughts on the up-beat club track.

“Queen @Beyonce, you’ve done it again! ‘Break My Soul’ is the song we all need right now, and I can’t help but dance and sing along while listening to it,” Obama wrote, adding: “Can’t wait for the album!”

‘Break My Soul’ samples both ‘Show Me Love’ by Robin S and ‘Explode’ by Big Freedia, the New Orleans bounce music torchbearer whom Beyoncé collaborated with on ‘Formation’.

The-Dream and Tricky Stewart, who previously worked with Bey on ‘Single Ladies (Put A Ring On It)’, are also credited on the track as well as JAY-Z and Adam “BlaqNmilD” Pigott, a producer from New Orleans who has worked with Drake on the singles ‘In My Feelings’ and ‘Nice For What’.

It was previously reported that ‘RENAISSANCE’ will feature pop and country tracks with contributions from Ryan Tedder, the OneRepublic frontman and hit songwriter who co-wrote Beyoncé’s 2008 hit ‘Halo’.

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Another contributor is said to be Raphael Saadiq, who, besides being co-founder of pioneering R&B group Tony! Toni! Toné! and the brainchild of early 2000s supergroup Lucy Pearl, has crafted hits as a songwriter for Mary J. Blige, Stevie Wonder and Beyoncé’s sister Solange for her 2016 album ‘A Seat At The Table’.

Beyoncé confirmed she was working on new music last summer. “I’ve been in the studio for a year and a half,” she explained. “Sometimes it takes a year for me to personally search through thousands of sounds to find just the right kick or snare. One chorus can have up to 200 stacked harmonies.”

The singer continued: “Still, there’s nothing like the amount of love, passion, and healing that I feel in the recording studio. After 31 years, it feels just as exciting as it did when I was nine years old. Yes, the music is coming!”

Back in November, Beyoncé dropped a powerful new track called ‘Be Alive’ which appears on the soundtrack for the Will Smith-starring King Richard.

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Evanescence’s Amy Lee and Eurythmics’ Dave Stewart link up for Everly Brothers cover

Evanescence’s Amy Lee and Dave Stewart of Eurythmics have collaborated on a cover of The Everly Brothers‘ ‘Love Hurts’ – listen to it below.

  • READ MORE: Does Rock ‘N’ Roll Kill Braincells?! – Amy Lee, Evanescence

The 1960 song was originally written by Boudleaux Bryant and appeared on The Everly Brothers’ fourth studio album, ‘A Date with the Everly Brothers’. Its most famous version is by Scottish hard rock band Nazareth.

Lee and Stewart’s rendition is a departure from any of the previously released versions, created using pulsing beats and dashes of piano, making way for Lee’s powerful vocals to soar.

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“My collaboration with Amy happened by chance, but turned into a magical adventure,” explained Stewart in a press release. “She’s a creative force and we work so well together. We quickly realised our version sounded nothing like the original but once we started, we couldn’t stop!”

Lee added: “A few weeks back Dave Stewart called and asked if I wanted to collaborate on the iconic Everly Brothers song, ‘Love Hurts.’ We clicked like magic and obsessed over it until it became this crazy new thing. I’m beyond excited about our new friendship and our new track.”

Arriving alongside a video produced by Stewart, you can check out the pair’s cover below:

The song will be officially released on Friday (June 24) via Bay Street Records.

Meanwhile, Evanescence and Within Temptation have been forced to reschedule their upcoming UK and European tour once again.

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The two bands had initially been due to head out on the ‘Worlds Collide’ tour back in 2020, but the tour has been postponed a number of times since due to the coronavirus pandemic.

The long-awaited gigs were then set to finally kick off next month, but Evanescence and Within Temptation have announced today (February 16) that the shows will now take place in November and December.

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Watch Roger Waters play a medley of Pink Floyd songs on ‘Colbert’

Roger Waters was the musical guest on last night’s (June 21) episode of The Late Show with Stephen Colbert – watch him perform a medley of songs below.

  • READ MORE: Why new Ukraine benefit song ‘Hey Hey Rise Up’ could be Pink Floyd’s perfect final act

The former Pink Floyd frontman appeared on the show backed by a full band, a pianist and some backing singers. The medley included ‘The Happiest Days Of Our Lives’, ‘Another Brick In The Wall, Part 2’ and ‘Another Brick In The Wall, Part 3’ from Pink Floyd’s 1979 album ‘The Wall’.

The performance comes ahead of his ‘This Is Not A Drill’ tour, which was originally set to begin in 2020 but was postponed due to the coronavirus pandemic.

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“This Is Not A Drill is a groundbreaking new rock & roll/cinematic extravaganza, performed in the round,” Waters wrote in a statement (via Rolling Stone). “It is a stunning indictment of the corporate dystopia in which we all struggle to survive, and a call to action to love, protect, and share our precious and precarious planet home.

“The show includes a dozen great songs from Pink Floyd’s Golden Era alongside several new ones — words and music, same writer, same heart, same soul, same man. Could be his last hurrah. Wow! My first farewell tour! Don’t miss it. Love, R.”

The tour kicks off in Pittsburgh on July 6, before heading to cities like Toronto, Chicago, New York and Los Angeles. It finishes up in Mexico City on October 15. Find any remaining tickets here.

Last month, Waters joined forces with Lucius on-stage to perform Pink Floyd’s ‘Mother’. The duo, made up of Jess Wolfe and Holly Laessig, were joined by Waters during the encore of their New York show to perform the Pink Floyd classic from ‘The Wall’.

Elsewhere, Pink Floyd released their first new music in decades to aid the relief effort in Ukraine back in April.

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The track, titled ‘Hey, Hey, Rise Up’, features a sample of Andriy Khlyvnyuk, the singer of Ukrainian band Boombox, and is the band’s first original music to be released since their 1994 album ‘The Division Bell’. All proceeds from the song go to Ukraine Humanitarian Relief.

Discussing the new song in a statement, David Gilmour said: “We want express our support for Ukraine and in that way, show that most of the world thinks that it is totally wrong for a superpower to invade the independent democratic country that Ukraine has become.”

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“Tha Bounce” By EDVANZD Is A Must-Hear

Prolific artist EDVANZD delights audiences across the world with the premiere of “Tha Bounce” that’s gaining more and more traction by the minute. The rapper has outdone himself yet again with a beautiful, artistic touch on the entire piece. The music video opens with an ominous melody and visuals that’ll take you to the old school horror film feels. But as the rapping begins, you know you’re in for a treat! 

“Next to the newborn my wife and I just had, “Tha Bounce” is definitely my baby. It has so many  layers and meanings that I hope everyone can appreciate upon multiple listens and views. I love  creating multi-tiered art,” EDVANZD said about the song.

Booming clap beats and powerful synths set up the stage for massive, non-stop lyrics and chorus that feel like a blast. The artist certainly seems to be enjoying his own performance, which makes the entire piece all the more fun to listen to. Check out the music video below!

EDVANZD is on InstagramSpotifyFacebookYouTubeWebsite

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The Darkness and Black Stone Cherry announce co-headline UK tour

The Darkness and Black Stone Cherry have announced details of a 2023 co-headline tour of the UK.

The two bands will head out on the road together early next year, with dates booked in Cardiff, Liverpool, Glasgow, Birmingham, Manchester and Leeds.

  • READ MORE: Does Rock ‘N’ Roll Kill Braincells?! – Justin Hawkins, The Darkness

The joint tour will wrap up on February 4, 2023 with a show at the OVO Arena Wembley in London.

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“Legend tells of a night, some 10 or more years ago, upon which The Darkness and Black Stone Cherry serenaded the nocturnal creatures of Thetford Forest, receiving generally favourable reviews in the woodland press,” The Darkness’ Justin Hawkins said in a statement about the tour.

“Like the owls and squirrels of that fabled evening, we give to you an opportunity to stand beaks and mouths a-gape in awe and wonder at the awesome power of power chords played by the very same fingers, but within the convenient shelter of an arena instead of in a moon-dappled forest clearing. There may be some seating so you won’t have to sit on toadstools. Also, modern flushing toilet facilities, not just tree trunks and bushes.

“Remember what the Thetford fauna say – ‘The music of Black Stone Cherry and The Darkness is TREEmendous, and Never LEAVES you’.”

The Darkness and Black Stone Cherry's 2023 UK tour
The Darkness and Black Stone Cherry’s 2023 UK tour

Black Stone Cherry added: “The rock n’ roll history books will tell you that on a summer’s night in 2012, tucked way back in the English countryside, two bands, from different parts of the world, came together to bring people a night of high energy, pedal to the metal, in your face unscripted rock ‘n’ roll. A bond was formed that could only have been blessed by the wizards of said forest.

“While discussing each other’s outfits and stage moves, a tour was spoken of, put into the galaxy if you will, and now we are honoured to say the stars have finally aligned and we will be joining forces with The Darkness for what will be the UK’s most exciting tour of the season!

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“We absolutely cannot wait to create more magic and release the lightning that both bands caught in a bottle so many years ago. Grab your friends, grab your family, but hold on to your asses because this tour is going to ROCK!”

Tickets for The Darkness and Black Stone Cherry’s 2023 UK tour will go on general sale at 10am on Friday (June 24), and you’ll be able to buy them from here. You can see their upcoming tour dates below.

January 2023
28 – Motorpoint Arena, Cardiff
29 – M&S Bank Arena, Liverpool
30 – OVO Arena, Glasgow
31 – Resorts World Arena, Birmingham

February 2023
2 – AO Arena, Manchester
3 – First Direct Arena, Leeds
4 – Wembley OVO Arena, London

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Red Hot Chili Peppers’ Flea wants to play Popeye in a live-action movie

Red Hot Chili Peppers bassist Flea has expressed his desire to play Popeye in a live-action movie if another one ever gets made.

  • READ MORE: Red Hot Chili Peppers: “We feel fresh, like a new band”

Taking to Twitter this past weekend, the musician and actor – who recently starred as a bounty hunter in Disney+‘s new Star Wars series Obi-Wan Kenobi – pitched the idea of him taking on the role of the much-loved cartoon sailor.

“If a good director decides to make a popeye movie, I’m your man,” he tweeted on Sunday (June 19).

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Although he’s predominantly known as the bassist for the California rock titans, Flea has been acting in TV shows and major motion pictures for decades.

Some of his most notable roles include Back To The Future II and III, The Big Lebowski, Baby Driver, Fear And Loathing In Las Vegas, The Chase, My Own Private Idaho, and he’s voiced characters in The Simpsons, Family Guy and American Dad.

Created by E.C. Segar, Popeye initially started off in 1929 as a comic book. The character made its way to the big screen in a 1980 with the release of a live-action musical directed by Robert Altman and starring Robin Williams as the titular character.

Whether a new Popeye movie is in the works is not known at this point, but judging from the responses to Flea’s tweet it looks like people would be into the idea.

Hollywood Heights actor Meredith Salenger was among those in his replies, telling the bassist: “Robert Altman’s was one of my favs. Robin Williams. The set. The music – Harry Nilsson. Shelley Duvall singing ‘he needs me’ (later used in punch drunk love). Perfection. And yes… you would be perfect casting.”

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Meanwhile, Red Hot Chili Peppers are currently in the middle of their world stadium tour in support of their new album, ‘Unlimited Love’, the band’s first since 2016’s The Getaway’ and the first to feature long-serving guitarist John Frusciante in over a decade.

You can check out the remaining dates below:

JUNE 2022
22 – Manchester, Emirates Old Trafford=
25 – London, London Stadium~
29 – Dublin, Marlay Park~

JULY 2022
1 – Glasgow, Bellahouston Park~
3 – Leuven, Rock Werchter
5 – Cologne, RheinEnergieStadium=
8 – Paris, Stade de France~
12 – Hamburg, Volksparkstadion=
23 – Denver, Empower Field at Mile High*
27 – San Diego, Petco Park*
29 – Santa Clara, Levi’s Stadium+
31 – Los Angeles, SoFi Stadium+

AUGUST 2022
3 – Seattle, T-Mobile Park^
6 – Las Vegas, Allegiant Stadium^^
10 – Atlanta, Truist Park^
12 – Nashville, Nissan Stadium^
14 – Detroit, Comerica Park^
17 – East Rutherford, Metlife Stadium^
19 – Chicago, Soldier Field^
21 – Toronto, Rogers Centre^
30 – Miami, Hard Rock Stadium^

SEPTEMBER 2022
1 – Charlotte, Bank of America Stadium^
3 – Philadelphia, Citizens Bank Park^
8 – Washington, Nationals Park^
10 – Boston, Fenway Park#
15 – Orlando, Camping World Stadium^
18 – Arlington, Globe Life Field^

=with special guests A$AP Rocky and Thundercat
~with special guests Anderson .Paak & The Free Nationals and Thundercat
*with special guests HAIM and Thundercat
+with special guests Beck and Thundercat
^with special guests The Strokes and Thundercat
^^with special guests The Strokes and King Princess
# with special guests St. Vincent and Thundercat

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Stormzy given honorary degree by University of Exeter

Stormzy has been given an honorary degree by the University of Exeter – watch him give a speech at the graduation ceremony while collecting the diploma below.

  • READ MORE: Stormzy live at Reading Festival 2021: festival return is another rockstar moment

The rapper (real name is Michael Owuo Jr.) was given the degree in recognition of his “remarkable contribution to society and extraordinary talent”.

Professor Lisa Roberts, University of Exeter’s Vice-Chancellor described the star as “an outstanding musician and wordsmith [who] inspires people to speak openly about their beliefs and fight for their rights”.

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She added: “The University of Exeter has put social justice at the heart of its new ten-year strategy which includes opening doors to people from all walks of life into higher education and it was wonderful to hear Michael’s powerful speech today to students and graduates.”

Stormzy addressed the graduating class while receiving the honour, praising them for having “the guts and the grit and the dedication that it takes to study for years and to finish your degree”.

“I got my AS results in my first year of college and said ‘Yeah, see you later’,” he said, reflecting on his own time spent in education. “I didn’t have the same minerals that you guys have. A year later I took another swing at my A levels at a different college… until I sat down for my English exam in January and walked out after 10 minutes.”

He continued: “It took a hell of a lot for you to get here today. Your journeys to get to this moment were hard-fought. The road you took was not easy. And this is coming from someone who tried to walk that exact same road and failed. So from the bottom of my heart, I say congratulations, well done and you should all be so proud of yourselves, what you have achieved is incredible. Don’t let anybody downplay it and don’t let anybody undermine it. If you are sat in this room today you are worthy and you are brilliant.”

He also shared why he had been told he was being given the degree and his response to it. “When I asked what exactly am I receiving this honour for I was told, and I quote, ‘It is in recognition of your outstanding achievements in the field of higher education, philanthropy and widening participation’, and I was like, ‘Rah boy… check me out. They’re calling lil’ old Mike a philanthropist,'” he said.

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You can watch Stormzy accept the diploma and give an acceptance speech above around the 1:10:10 mark.

As well as being one of the UK’s biggest music stars, Stormzy runs his own #MerkyBooks imprint in partnership with Penguin Randon House UK, through which he gives young and underrepresented authors the opportunity to publish their fiction, non-fiction and poetry.

He has also established the Stormzy Scholarship, which supports Black British students through their education at the University of Cambridge. So far, six students have been helped by the fund, while last year saw HSBC donate £2million to support a further 30 Stormzy Scholars in the next three years.

Meanwhile, the star recently surprised the crowd at Knucks’ show at London’s KOKO when he joined the rapper on stage to perform their collaboration ‘Die Hard’. Loyle Carner and Venna also appeared on stage during the show for a rendition of their track ‘Standout’.

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How LGBTQ+ Artists Made TikTok A Space For Sharing Their Stories

In honor of Pride Month, MTV News set out to spotlight the LGBTQ+ artists creating the contemporary anthems that soundtrack queer spaces and report on the new frontiers in today's streaming landscape helping them to do so. As we did last year, we've also set out to profile emerging LGBTQ+ artists and celebrate established ones making waves. Welcome to Queer Music Week.

By Max Freedman

Once upon a time, the Oakland ukulele-pop musician Mxmtoon thought TikTok was an app for, as she tells MTV News, “8-year-olds who play Fortnite.” That changed when her 2019 single “Prom Dress” went viral on the now-ubiquitous social media platform. There, the song has racked up 447,600 streams to date, and Mxmtoon’s TikTok channel has 2.8 million followers and 131.9 million likes. Now, the 21-year-old artist is one of many LGBTQ+ musicians using the app to make their music and full selves heard while connecting more closely with their audiences, especially their LGBTQ+ fans.

In conversations with MTV News, Mxmtoon (who also goes by Maia but keeps her last name out of the public for her privacy) and other LGBTQ+ musicians say they’ve used TikTok to get their music to queer listeners more quickly and directly than many traditional promotional routes like radio airplay. The online communities they’ve built through the app have translated to sold-out live shows and major label deals, though some have used their TikTok presences to maintain a level of creative autonomy unprecedented for newly signed artists. Even as the app has admitted to shadowbanning words such as “gay,” “lesbian,” and “transgender,” as well as generally pro-LGBTQ+ content, TikTok has nonetheless become a space of connection and authenticity for LGBTQ+ musicians and listeners alike.

It’s easy to think of TikTok as a COVID-era phenomenon. Surely, during early lockdown, you fell down a dance-challenge TikTok rabbit hole or watched way too many clips that use the same song. Yet as Mxmtoon recalls, TikTok was already a big deal pre-pandemic. She says that before she released “Prom Dress” in May 2019, she and her team “went into that campaign and that release with the intention of making a lot of content on TikTok so…people could interact with it for a while before we [released] the actual full-length song.” At the time, TikTok had roughly 271 million monthly active users, a mere fraction of the 1 billion monthly active users it reached in September.

https://www.youtube.com/watch?v=AeUeLzBO0go

Throughout our conversation, Mxmtoon speaks about TikTok both with an executive-sharp marketing eye — she says “engage” and “consuming content” at least once — and continued incredulity about how uniquely the platform can help musicians. “There was a really big moment [for] ‘Prom Dress’ on TikTok before we even filmed the music video,” she says. “It was really interesting to see how massively it took off.”

As her audience has grown, Mxmtoon has found a space to more fully be herself. “TikTok has played a huge part in me expressing my identity as a queer person,” she says. The near-instantaneous conversations the platform facilitates through its video replies to comments make it “very easy to have a conversation about your identity. It's very easy for me to make a video about being bisexual and reach an audience of people that also understand that experience and want to consume content representative of their identities.” She regularly responds to comments asking about her sexuality. “If I'm open and honest about my queerness,” she says, “it allows other people to be open and honest about theirs, as well.”

TikTok is how the British folk-pop musician Cat Burns — who has 1.2 million TikTok followers alongside roughly 539,000 TikTok streams on the four versions of her folk-pop song “Go” — figured out her sexuality. Since TikTok “creates an algorithm for you,” the 22-year-old tells MTV News, “it knew that I was not definitive in who I thought I was and would show me particular videos and…would then continually show me those same videos, and then I would continuously like them, and then it got me thinking, ‘Oh, am I not straight?’"

Now, she’s writing music made explicitly for fellow LGBTQ+ people and Black women — and reaching listeners via social media. “I want people to feel heard and represented in the music that I make,” she says. “I want to make people feel seen.” She pulled off both when she released her song “Free” in 2021, about a year after she first gained a large TikTok following during early lockdown by regularly doing singing challenges and covering songs. “Free,” which she released after signing to a major label, “immediately hit the target group that it needed to hit, and it touched the people that it needed to touch. I don't think I would be able to hit the [number] of people that I've hit without TikTok.”

https://www.youtube.com/watch?v=r-go07SLxlU

Through the platform, both Burns and Mxmtoon have built an audience of LGBTQ+ listeners and used the platform to share their stories with fans. Or, more accurately, further share their stories. If music is storytelling, then on TikTok, LGBTQ+ musicians are revealing their narratives to new people and building even deeper connections with longtime listeners.

The Missouri-raised glam-pop musician Jake Wesley Rogers — whom some have called “Gen Z’s Elton John” — says that the connections TikTok builds have resulted in an unprecedented transfer of power from labels to musicians. Although the 25-year-old singer-songwriter published five music videos in 2021, he tells MTV News, “This year, my budgets got cut for music videos, and the explanation was, 'You're making TikToks for free, and they're doing much more to build your audience than these very expensive music videos.' Which is fair!”

Rogers says that musicians “don't really need the infrastructure, the money, and the push behind a label to get out there. If you get a following, you get a following, and you have power. You own everything.” In a major-label ecosystem where musicians — including LGBTQ+ songwriter Justin Tranter, who heads Rogers’s label, Facet — still speak of an overall lacking queer presence in the industry, the power that TikTok can give marginalized musicians to take and maintain control of their stories when formally entering the industry is nothing short of game-changing.

For Rogers, this power has primarily come in handy after, not before, signing to a label. Facet had already offered him a deal before he joined TikTok right as the pandemic began. His following on the platform has since grown to just under 300,000, with a few million-plus-views videos on his page, plus the “Abraham Lincoln was a queer icon” video that first took him viral in May 2020. He hasn’t needed a TikTok megahit like Burns’s “Go” or Mxmtoon’s “Prom Dress” to build a devoted following on and beyond the app.

“TikTok was this way to share my music and find new people that, maybe traditionally, you would get from touring,” he says. But once touring restarted, he “saw it translate immediately. I played my first headline shows last year, and I think the reason they sold out was because of TikTok.” His listeners, he affirms, are “coming to the shows and believing in what I believe in.”

https://www.youtube.com/watch?v=OZSIrxZziCM

Those beliefs include that “authenticity, love, and consciousness are part of us…and the world is really fucked up and there's so much beauty in it.” Also: “We contain multitudes, and I think...TikTok rewards that. It rewards a holistic person. ... I'm an artist first, but I'm a lot of things, and I can show all those things.” Rogers says that the multiplicity and contradictions that TikTok encourages are why the platform is home to a thriving community of LGBTQ+ musicians and listeners. “I think queerness is that,” he says. “Queerness is existing in that blurry state of nonconformity.”

Thanks to TikTok, major labels are less hesitant than ever to embrace and uplift their artists’ creativity and identities, and LGBTQ+ musicians and listeners are finding each other more easily than ever. The app is allowing LGBTQ+ musicians to directly put forth their full selves to like-minded audiences. There, artists’ personalities are on display alongside their music, and no traditional music marketing approach can so deftly pull off that feat. “It was so much fun for me…to express facets of [myself] on the platform other than just my songs,” Mxmtoon says of her early days on the platform. Since then, she says, TikTok has “been this great tool to not only promote my music and share my songs, but also promote who I am.”

Of course, TikTok comes with its challenges for musicians, even beyond the potential for censorship. The app has enforced bans in several languages on certain LGBTQ+-related words. It has also shadowbanned queer TikTok content in countries with no recent history of anti-LGBTQ+ legislation. For now, these bans haven’t affected LGBTQ+ artists all that significantly, though Mxmtoon notes that TikTok’s “history of not necessarily advocating for all people and shutting down certain voices and stories” means “they still have a ways to go.”

Mxmtoon also mentions that TikTok has made music “hard to think about from my business brain — how do I make a snippet of my song take off on TikTok? And from the creative side of it, I'm like, ‘I don't want [snippets] to define why I make this song and the way that I write.’” Burns says that successfully using TikTok to spread your music requires keeping up with trends, which adds another task to a list stacked with writing, recording, touring, doing interviews, and just living your life. “As long as you move with the times of TikTok, it definitely works in your favor,” she says, “but if you stick doing the same content, it never [goes anywhere].”

Rogers points to another challenge with using TikTok to promote his music. “If I get too caught up in likes and comments and virality, then I'll stop making music accidentally,” he says. But he adds that TikTok continues to be worth it: “The people who have found [me] and continue to find [me] are investing, more than just following me.” They’re showing up to his shows, which means they’re actually funding his music career. And for Mxmtoon, a continued TikTok presence eliminates the longstanding “divide between artist and audience.” The platform excels at building genuine bonds between LGBTQ+ musicians and the people who would naturally be most interested in their music: LGBTQ+ listeners. Burns says that she’s “seen so many people” of all sexualities “playing [‘Go’] and using it in their videos.” After all, she adds, “That's just what music does. It connects people.”

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Kate Bush looks set for another week at number one with ‘Running Up That Hill’

Kate Bush looks set to achieve another week at number one with ‘Running Up That Hill’ following its recent inclusion in Stranger Things.

  • READ MORE: Kate Bush’s best on-screen syncs – from Stranger Things to ‘Being Human’

According to The Official Charts Company, Bush is on track for a second week at number one, followed by Harry Styles’ at number two with ‘As It Was’ and LF System’s ‘Afraid To Feel’ at number three.

Elsewhere in the singles charts as it stands is Drake with three potential new entries following the release of his surprise album, ‘Honestly, Nevermind’ last week. 

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Last week, ‘Running Up That Hill’ was the most streamed track on the planet and reached Number One on both the Spotify charts in the UK and the US after earning 57million streams in just one week.

As well as being Number One now in the UK, it’s also Number One in Australia, New Zealand and Switzerland. In the US, it’s currently Number Four in the main chart and Number One on the Billboard Global 200 chart, making it Bush’s biggest ever hit in America 37 years after its original release.

In a new statement about the news on Friday (June 17), Bush said of the news: “The Duffer Brothers have created four extraordinary series of Stranger Things in which the child actors have grown into young adults.

“In this latest series the characters are facing many of the same challenges that exist in reality right now. I believe the Duffer Brothers have touched people’s hearts in a special way at a time that’s incredibly difficult for everyone, especially younger people.

“By featuring ‘Running Up That Hill’ in such a positive light – as a talisman for Max (one of the main female characters) – the song has been brought into the emotional arena of her story. Fear, conflict and the power of love are all around her and her friends.

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“I salute the Duffer Brothers for their courage – taking this new series into a much more adult and darker place. I want to thank them so much for bringing the song into so many people’s lives.

“I’m overwhelmed by the scale of affection and support the song is receiving, and it’s all happening really fast, as if it’s being driven along by a kind of elemental force. I have to admit I feel really moved by it all. Thank you so very much for making the song a number one in such an unexpected way”.

Kate Bush
Sadie Sink’s big ‘Stranger Things’ season four scene is soundtracked by Kate Bush’s 1985 classic ‘Running Up That Hill’. CREDIT: Netflix/Getty

‘Running Up That Hill’ originally reached Number Three in the UK in 1985 and charted again in 2012, when it reached Number 12. The song was also recently used in It’s A Sin, the award-winning TV series by Russell T Davies.

The song was written and produced by Bush and featured on her fifth studio album ‘Hounds Of Love’, which was released in 1985, debuting at 30 on the Billboard chart, where it currently stands at No 12.

Bush now has boasts the longest-ever gap between Number One singles in Official Chart history, with 44 years between her 1978 chart topper ‘Wuthering Heights’ and 2022’s ‘Running Up That Hill’.

Bush now also claims the record of longest time taken for a single to reach Number One on the Official Singles Chart, with it being 37 years since the single was first released.

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Watch Metallica play ‘Metal Militia’ live for the first time in six years

Metallica played their track ‘Metal Militia’ live for the first time in over half a decade this weekend – see footage below.

  • READ MORE: Does Rock ‘N’ Roll Kill Braincells?! – Metallica’s Kirk Hammett

The metal titans were playing the Pinkpop festival in the Netherlands on Friday night (June 17).

During the set, the band performed ‘Metal Militia’, taken from their classic 1983 album ‘Kill ‘Em All’, live for the first time since 2016, alongside hits spanning the band’s entire career.

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Watch Metallica play ‘Metal Militia’ at Pinkpop below:

Recently, Metallica guitarist Kirk Hammett claimed that he believes the band warned people that streaming services “wouldn’t work” as a new form of business.

“We warned everyone that this was gonna happen,” Hammett told Classic Rock in a new interview. “We warned everyone that the music industry was gonna lose 80 perc ent of its net worth, power and influence. When these monumental shifts come you just either fucking rattle the cage and get nothing done or you move forward.

“There’s definitely a new way for getting music out there, but it isn’t as effective as the music industry pre-Napster,” Hammett added. “But we’re stuck with it. There needs to be some sort of midway point where the two come together, or another completely new model comes in.”

Earlier this year, it was announced that Metallica would release a series of remixed and re-edited live performance and documentary films of their 40th anniversary shows.

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In partnership with The Coda Collection, seven new titles will be made available on the subscription streaming service for the first time, shedding new light on the metal monolith’s 40-year tenure and offering fans a chance to relive some of their most iconic performances.

Meanwhile, Metallica guitarist Kirk Hammett has told NME that Nirvana’s Kurt Cobain “didn’t like what Guns N’ Roses stood for” in a new interview.

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Boris Johnson thinks Eurovision 2023 should be held in Ukraine: “I hope they get it”

Prime Minister Boris Johnson has said Ukraine should be given the chance to host Eurovision 2023 after it was confirmed that talks were underway to potentially bring next year’s contest to the UK.

Ukrainian group Kalush Orchestra won this year’s song competition with a huge 631 points, and it was therefore set to be staged in the country in 2023.

  • READ MORE: Eurovision 2022: Ukraine beats Sam Ryder into second at hope-filled pop bash

However, the European Broadcasting Union (EBU) announced “with deep regret” yesterday (June 17) that it will not be possible to do so amid the threat of the ongoing Russian invasion.

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In a statement, the EBU also revealed that it “will now begin discussions with the BBC, as this year’s runner-up, to potentially host the 2023 Eurovision song contest in the United Kingdom”.

“It is our full intention that Ukraine’s win will be reflected in next year’s shows,” the update continued. “This will be a priority for us in our discussions with the eventual hosts.”

The competition was last held in the UK in 1998 after the UK won with Katrina And The Waves’ ‘Love Shine A Light’ the previous year. Last month, the 2022 entrant Sam Ryder gave the nation its best result since ’98 – coming in at second place with 466 points overall.

Upon his return from his trip to Kyiv, PM Johnson said today (June 18) that he wants Ukraine to host Eurovision 2023.

“The Ukrainians won it fair and square, even though we had a brilliant entry, and they should be given the chance to host it,” Johnson said (via the BBC).

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“It’s a year away. It’s going to be fine by the time the Eurovision Song Contest comes around and I hope they get it.”

Various cities in the UK – including Glasgow, Manchester, Leeds and Liverpool – have already expressed an interest in hosting next year’s Eurovision, should the competition return to these shores for the ninth time.

Elsewhere, Mayor of London Sadiq Khan took to Twitter to say that the capital “would welcome Eurovision with open arms”.

“We’re ready to step up and support Ukraine by hosting a contest that pays tribute to and honours the Ukrainian people, and also celebrates the very best of Britain too,” he added.

In yesterday’s statement, the EPU wrote: “Given the ongoing war since the Russian invasion of this year’s winning country, the EBU has taken the time to conduct a full assessment and feasibility study with both UA:PBC and third-party specialists including on safety and security issues.”

The EPU went on to acknowledge that the coverage of the Eurovision Song Contest was “one of the most complex TV productions in the world with thousands working on, and attending, the event and 12 months of preparation time needed”.

It continued: “Following objective analysis, the Reference Group, the ESC’s governing board, has with deep regret concluded that, given the current circumstances, the security and operational guarantees required for a broadcaster to host, organise and produce the Eurovision Song Contest under the ESC Rules cannot be fulfilled by [Ukraine’s public broadcaster] UA:PBC.”

Oleksandr Tkachenko, the Ukrainian Culture Minister, has since responded by saying “we will be demanding to change the decision”.

“Hosting Eurovision 2023 in Ukraine is a powerful signal to all the world, which is supporting Ukraine now,” he said.

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Yungblud details third graphic novel, ‘The Funeral’

Yungblud has shared a third instalment in his series of graphic novels, The Twisted Tales Of The Ritalin Club – get all the details on The Funeral below.

  • READ MORE: Yungblud: “This album is about reclaiming my name and humanising the caricature”

The new novel, released later this year in collaboration with Z2 Comics, follows 2019’s debut edition and 2020 follow-up Weird Times At Quarry Banks University. Its title is taken from the singer’s 2022 single, which has an official video featuring Ozzy Osbourne.

A synopsis for the novel reads: “This new chapter builds off the gleefully irreverent, bitingly profane adventures of Yungblud and his super-powered coterie—the titular Ritalin Club—of Harmony, Scout, Zombie Joshua, Em, and Encore. After breaking free from the repressive constraints of Blackheart’s High School and navigating the horrors of Quarry Bank University, Yungblud will face his greatest foe: mortality.

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“Two years after saving the world from the Mangaverse, Yungblud died. No one knows how, only that it was enough to cause The Ritalin Club to disband and stop talking to each other. But as their old foe, The Spreading Darkness, has returned, more powerful than ever, it falls to Zombie Joshua to get the band back together. Every member. Living or dead.”

Pre-order The Twisted Tales Of The Ritalin Club 3: The Funeral here, and see its cover below.

Yungblud
CREDIT: Z2 Comics.

Speaking of the new comic, Yungblud said: “These powerful graphic novels serve as a mirror to my own journey as an artist through a medium I absolutely adore.

“The previous volumes chronicled my battles with authority, identity and self expression. The Funeral, like its musical counterpart, grapples with the idea of self acceptance, belonging, and finding peace with your own insecurities.”

Joshua Frankel of Z2 added: “Yungblud continues to be one of the most singular, confrontational voices in the pop culture landscape.

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“As soon as we launched Twisted Tales, I knew that his story couldn’t be contained in one volume. This is a glorious middle finger of genre fiction. We’ll continue to publish them as long as there’s a story to tell.”

Yungblud
Yungblud. CREDIT: Tom Pallant for NME

Yungblud announced details of his new self-titled record last month and appeared on the cover of NME to discuss working with WILLOW, the advice Ozzy Osbourne gave him, the misconceptions people have about him, and shares insight into his new album.

“I think I’ve been painted with a brush,” he told NME. “So much of what has been said about me has come from a manipulated truth that has blown up on Twitter. I’ve always provided answers for people – and I don’t want to do that anymore.”

Last week, Mick Jagger presented Yungblud with a special guitar while meeting for the first time backstage at The Rolling Stones’ Liverpool gig.

Jagger, who recently praised Yungblud in an interview on Swedish radio (saying that the artist has “that kind of post-punk vibe [that] makes me think there is still a bit of life in rock and roll”), presented Yungblud with a Buddy Holly-inspired guitar during that meeting to formally welcome him into the Buddy Holly Educational Foundation, for which Jagger is an ambassador.

Named ‘Blue Suede Shoes’, the gifted guitar in question was inspired by Holly’s preferred Gibson J-45 and marks Yungblud’s “contribution to the art of songwriting and performing, an important part of Buddy Holly’s legacy which the Foundation promotes and celebrates”.

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Starcrawler announce new album ‘She Said’ and share its title track

Starcrawler have announced details of a new album called ‘She Said’ along with the release of a video for its title track – watch it below.

  • READ MORE: Starcrawler are the antagonistic glam stars aiming to go “triple platinum or bust”

The band’s first album for a major label will come out on September 16 via Big Machine, and follows the release of new single ‘Roadkill’ last month.

The LA-based five-piece – comprising frontwoman Arrow De Wilde, guitarists Henri Cash and Bill Cash, drummer Seth Carolina and bassist Tim Franco – released their self-titled debut album in 2018, following it up the next year with ‘Devour You’.

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Speaking about the new song in a statement, De Wilde said: “’She Said’ was one of the first songs written for this album. It was at the beginning of the pandemic and Henri came to my window and played me the demo, and we wrote the lyrics together like Romeo and Juliet.

“It’s what really kicked off the writing process of this album, and it was such a powerful moment that we wanted to name the record after that song.”

Watch the band’s video for ‘She Said’ below and pre-order the album here.

Starcrawler recently opened for My Chemical Romance across the band’s UK tour and will play alongside Nick Cave & The Bad Seeds at their huge All Points East show in London later this summer.

On August 28, Cave and his band will headline the final night of the Victoria Park festival. Last month, the line-up for the show was completed, with longstanding space rockers Spiritualized, acclaimed poet Kae Tempest, jazz pianist and composer Robert Glasper all added to the bill.

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Hurray For The Riff Raff, Party Dozen (whose single ‘Macca The Mutt’ featured Cave), Starcrawler, and former Palma Violets musician Chilli Jesson are also set to play, while Radiohead side project The Smile will offer main support alongside Michael Kiwanuka, Sleaford Mods, Japanese Breakfast and more.

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Bop Shop: Songs From Bartees Strange, Wonho, The Beths, And More

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn't discriminate by genre and can include anything — it's a snapshot of what's on our minds and what sounds good. We'll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Bartees Strange: "Mulholland Dr."
    https://www.youtube.com/watch?v=HMJbUlHYE28

    What a long, strange trip it's been for Bartees. It actually hasn't been that long — his fiery debut LP dropped in 2020, and since then, he's toured with the likes of Phoebe Bridgers, his heroes in The National, and more. Importantly, he was always a headliner; now the bookings have caught up with his talents. That's extremely apparent on "Mulholland Dr.," a standout cut from his second album, Farm to Table, which is out today. The twinkly guitar and icy keyboard lines make it timeless, existing in a framework of indie rock not tied to any particular era (even with its brief Steely Dan detour around 2:10 in). And his emotional vocals ("I don't believe in the bullshit") make everything memorable on top. —Patrick Hosken

  • Wonho: "Crazy"
    https://www.youtube.com/watch?v=chjvw8YoO50

    I’ve been following Wonho’s career for a while now. I’ve been there through the ups and downs and watched and listened to him play with different sounds and concepts. All of it. With his latest release, Facade, you can hear the culmination of his efforts and maturity as an artist. He brings all that into view with his genre-bending focus track, “Crazy.” The infectious single finds Wonho at his best, experimenting and executing flawless choreography. A driving bassline, guitar riffs, smooth vocals, and a chorus that has been stuck in my head for days — it’s definitely a bop. And while I’ve been going “Crazy” over Wonho for some time, it truly feels like we have so much more to see from him, and personally, I can’t wait. —Daniel Head

  • Loveless: "Middle of the Night"
    https://www.youtube.com/watch?v=TjMPGd20Ryk

    Los Angeles alternative rock duo Loveless formed less than three years ago, but they’ve already managed to accumulate hundreds of thousands of followers on TikTok and Instagram resulting in millions of streams. Their much-deserved success is a prime example of the power that social media has in the music industry right now. Singer Julian Comeau has a captivating, emotive voice that he uses to effortlessly breathe new life into well-known pop songs on the band’s TikTok. On “Middle of the Night,” Loveless puts a powerful pop-punk spin on Elley Duhé’s enchanting 2020 original, a track that’s experienced a recent viral resurgence. The cover is striking, well-produced, and sure to introduce Loveless’s new fans (like myself) to some of their original music, which I’m finding to be equally impressive. —Farah Zermane

  • Between Friends: "Try"
    https://www.youtube.com/watch?v=FyZOXkh4LL4

    Indie-pop sibling duo Between Friends put their own twist on MTV with new project Cutie, crafting a series of dreamy and nostalgic visuals that speak to their definition of “modern music television.” Amongst a sea of tranquil and daydream-hued entries is “Try,” an exceptionally sweet meditation on finding your place in another’s life and the threat of things going south. Armed with a synthesizer, filtered vocals, and a heavy bass, the two craft a tune fit for sleepless summer nights and picturesque sunsets with a simple chorus: “Tryna be the one you stay awake for / And you know that if you ask me, I would be yours.” —Carson Mlnarik

  • The Beths: "Silence Is Golden"
    https://www.youtube.com/watch?v=QjTTlHoNgYM

    The Beths are a favorite foursome from New Zealand whose take on "Have Yourself a Merry Little Christmas" I play every single year for maximum yuletide melancholy. The other 11 months, however, The Beths are perfect for rip-roaring, peppy and melodic avalanches of indie rock, like on new single "Silence Is Golden." The title is delivered with a straight face — over careening waves of distorted guitars and huge drums. It's enough to make you laugh, and you should! Then you should proceed to rock the hell out. Their new album, Expert in a Dying Field, is out September 16. —Patrick Hosken

  • Yung Gravy: "Betty (Money)"
    https://www.youtube.com/watch?v=8oE5Z2GLhNc

    Yung Gravy is known for his tongue-in-cheek, satirical hip-hop tracks, but he brings a new definition to Rickrolling in this absolutely classic banger, using the instrumentals of Rick Astley’s “Never Gonna Give You Up” and blending it with his own groovy trap beats. While he modifies the lyrics to sing about his pursuit of big bucks, he still manages to make them catchy with his smooth bass vocals: “Never gonna take an L / Never take a damn thing slow / All I know is chase this dough and get money.” —Athena Serrano

  • Julius Rodriguez: "Two Way Street"
    https://youtu.be/QcKOazHYoLQ

    Julius Rodriguez is a tornado of talent. As the 23-year-old showcases in this live, at-home take of his breakneck bebop song "Two Way Street," he'll begin on drums and move to piano in the middle of the tune. He plays guitar as well, including onstage with a collective that toured with A$AP Rocky in the past. Rodriguez, a.k.a. Orange Julius, shows this all on his debut album, Let Sound Tell All, which dropped on June 10. Throughout, he dips into noirish soul and a bit of R&B, always keeping his compass pointed toward the unexpected. —Patrick Hosken

  • Princess Nokia: "Diva"
    https://www.youtube.com/watch?v=JI66CjACJsU

    Princess Nokia is back, and she’s giving flowers to the divas who have inspired her. “I feel like Beyoncé / I feel like Shakira / Lemonade, I’m juicy / Hips don’t lie, Selena / Britney, Christina, rest in peace Aaliyah,” she sings on the track’s ethereal refrain, channeling the female music trailblazers who came before her both sonically and spiritually. The influence doesn’t stop there, and she uses the single’s verses to spit some rhymes and celebrate her lineage as well: “I just learn from these women, do whatever it takes / I’m the daughter of the witches that they burned at the stake.” It’s a meditative, summer-flavored take on a self empowerment anthem, ensuring that by the end, you’ve found your own inner diva. —Carson Mlnarik

  • Special Interest: "(Herman's) House"
    https://www.youtube.com/watch?v=EZahXe59w20

    In May, the great New Orleans punk band Special Interest released a dance track called "(Herman's) House," wherein a fuzzy pulsating bassline lays the groundwork for a history lesson. The Herman in the song's title refers to Herman Wallace, a Black revolutionary and member of the Angola 3 who served 41 years in prison in solitary confinement before his eventual release. "This song bears witness to our wonder and desire to dismantle the oppressive systems that hinder our possibilities towards true liberation, to annihilate, to destroy and to rebuild with one another," band members Alli Logout and Maria Elena said in a statement. —Patrick Hosken

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Perfume Genius’s Unknowable Ecstasy

By Matt Mitchell

“To be gorgeous, even from the day you’re born to the day you die, is to be gorgeous only briefly,” Vietnamese-American poet Ocean Vuong wrote in his novel, On Earth We’re Briefly Gorgeous. Perfume Genius, the performer born Mike Hadreas, evokes that same emotion onstage. Since his debut, 2010’s Learning, Hadreas has deconstructed the banalities of attraction and attractiveness through human movement, and his catalog is an exclamation on how our bodily prisons can become delicate and powerful. Hadreas’s new album, Ugly Season, which he lovingly refers to as “the dance record,” was written and recorded just before 2020’s Set My Heart on Fire Immediately, but it is much more akin to the melodrama of a ballet or concerto than that project’s fluttering, beguiling grandeur. Despite the two-year gap between them, the records were originally slated to be released within a year of each other — and the pop alchemy of Immediately was fashioned in response to the process of composing Ugly Season.

“The way we made Ugly Season was a little more free,” Hadreas tells MTV News. “I didn’t have any limits or any ideas about process other than I had an energetic place I wanted the songs to go to and I needed them to be a certain amount of time and I wanted them to feel a certain way. I wanted them to be, you know, kind of operatic, but I didn’t care how that was executed.” Hadreas says a lot of the album resulted from improvising with his collaborators, producer/multi-instrumentalist Blake Mills and pianist Alan Wyffels. “But with Set My Heart on Fire Immediately, I wanted to make something a lot more songy and a lot more pared back. I tried to do everything with the least amount of elements possible, which is not something I thought about when I was making Ugly Season.”

https://www.youtube.com/watch?v=JQ5kdR_N3Vo

Where Immediately was Hadreas’s most straight-forward record, incorporating country and disco influences into his pop vernacular, Ugly Season is much more experimental and worldly. It is as inspired by Bulgarian women’s choirs as it is Irish New Age icon Enya and Lebanese singer Fairuz. There are instrumental stretches of opulent strings harmonizing like intersecting gusts of wind and sermons of chambered vocals pressing against ambient space. Ugly Season was originally attached to “The Sun Still Burns Here,” his collaborative dance recital with artist Kate Wallich that Hadreas calls “a movement language” and a “utopian, sex culty” thing made up of patient, mystifying choreography. The show premiered in October 2019 at The Moore Theatre in Seattle and ran through January 2020 at the Institute of Contemporary Art in Boston. “I love to move in slow motion. I don’t know if it’s always really exciting to watch, but it feels good to me,” he adds, laughing. “The thing I was trying to do the most, or what I thought about the most, was trying to make something spiritual or almost religious.”

Even though Ugly Season and Immediately are dichotomous, they share a character. “Jason,” Hadreas’s catch-all pseudonym for some of the men in his life and imagination, arrives under different disguises. On Immediately, he’s a straight man having one-night stands with gay men; on Ugly Season’s “Hellbent,” he’s a drug dealer. Hadreas doesn’t know how to explain why he keeps talking to different Jasons in his music, attributing that uncertainty to why his Substack newsletter about process and creation didn’t pan out. “I realized I have no idea how to explain it,” he adds. “I can energetically feel all the reasons and I feel very smart and wise and patient when I’m picking words and picking notes, but when I try to explain it, I can’t. I think that’s why I made [Jason], because I don’t know how to explain it in any other way.”

Ugly Season is a conduit for Hadreas’s unknowable ecstasy and, despite its title, is his preservation of the eruptive, pirouetting motions that come with it. The record is bold and insular, and there’s something very innate yet otherworldly about the imagery it conjures. Just like his and Wallich’s dance, Hadreas’s album vision involves visually reckoning with his own body and others’, providing deft commentary on how they intertwine and recoil. The sparse, glittering jangle of “Pop Song” chronicles two stretching, breathing bodies becoming one; “Eye in the Wall” fashions a haunted, sprawling arrangement into a cinematic ode to the parts of someone else’s frame, rendering Hadreas as “full of nothing but love.”

https://www.youtube.com/watch?v=gFqOeib8Qss

In his live performances, Hadreas is always moving, improvising, and shifting. “[During the dance], I would be rolling around and I would come into contact with some feeling that I’ve been carrying around and I didn’t even know,” he adds. “You just become so used to the stories you tell yourself about yourself. You go to sleep and you wake up with them fully intact. You just don’t even question it, and you really should — because they’re usually lies. Sometimes the songs are like, ‘What if I was really into that? What if that was hot? Whatever darkness I feel, what if I was harnessing it instead of being haunted by it?’”

Stripping down emotionally in his work, Hadreas deconstructs himself to a molecular level artistically, pondering how he can give parts of himself away. It takes shape on his album covers just as much as his songs. Too Bright is a gender-fluid portrait of the singer. No Shape features him missing a pant leg. Set My Heart on Fire Immediately finds him shirtless. Ugly Season is a very naked and surreal rendering of his upper body, an indiscernible, almost “hideous,” image. “It’s heavy,” Hadreas says. “My time is spent thinking really awful things about myself. It’s physical, like I can feel [the] energy.” On his androgynous 2014 anthem “Queen,” he flips that hate and reshapes it into a tough, kaleidoscopic moment of pleasure and ego. On Immediately, he embodies the burdens of his own humanism and of how our bodies covet. On Ugly Season, he’s falling in love with the abstract glamour of being hideous.

That concept was captured in a companion short film by the artist Jacolby Satterwhite, who also created the film accompaniment for Solange’s When I Get Home. The two met over the phone in early 2020 and discovered their shared interest in presenting emotions in media that extend beyond music. The result of their collaboration is a portrait of utopian memory and an attempt at visualizing immense, inarticulable desires through the movement of bodies, a grand emphasis on the sensual story Hadreas tells throughout Ugly Season. “I just really love what [Satterwhite] does and I really trust him,” Hadreas says. “I trusted that he would understand where I’m coming from without really having to explain it.”

Provided by the artist

The day before we spoke, Hadreas spent an afternoon at a photo shoot. Despite being a performer whose live act is so tethered to a contorting body vulnerably laid bare, that openness isn’t second nature to him. Yet the confidence he displays is not so much forced for the camera as it is another extension of his Perfume Genius persona. “It’s not that I feel ready to get my picture taken, or that I even deserve to, or that I’m hot enough to be the focus of a photo shoot,” Hadreas notes. “When I got there, I decided to feel that way. It’s the same when I perform. I’m not super comfortable, sometimes, wearing the things that I wear or doing the things I do or saying the things I say before I go onstage. But when I’m onstage, I have made a decision to be comfortable and try to be more comfortable than anybody else.”

“Bitch, it’s ugly season, and I love it,” Hadreas sings gently on the title track. Narratively, the album is a familiar landscape, as Hadreas transcribes misanthropies laced with joyous spurts of queer euphoria. He tracks his own grief, of both unrequited love and self-doubt, and spirals them into paeans of tender confidence. Perfume Genius is not a monolithic character, but a channel for Hadreas to center and release parts of himself — the parts he writhes away onstage every night. He leaves an opening for his audiences to do the same. It’s a communal embellishment of confidence, a purging of doubts, a ballet reconfigured every night. “It’s a little battle against myself, but I also think of it as a portal for other people,” he adds. “I hope that’s sort of empowering, or that I just want to feel hot for an hour.”

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Beyoncé’s new album ‘RENAISSANCE’ will reportedly feature country and dance tracks

Beyoncé‘s new album ‘RENAISSANCE’ is set to reportedly feature country and dance tracks.

  • READ MORE: 20 albums to get excited about in 2022

The pop icon is due to release the follow-up to her latest album, 2016’s acclaimed ‘Lemonade’, on July 29.

According to Variety, the record will feature pop and country tracks with contributions from hit songwriter Ryan Tedder, who co-wrote her 2008 hit ‘Halo’ and Raphael Saadiq, who has crafted hits for Mary J. Blige, Stevie Wonder, and Beyoncé’s sister Solange’s 2016 album ‘A Seat At The Table’.

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Recently, Beyoncé deleted her profile pictures from her official social media accounts as she prepared to enter her next solo era.

Yesterday (June 16) ‘RENAISSANCE’ was announced by the singer and fans can now pre-save/pre-add the release here.

Additionally, the official profiles for Spotify, Apple Music and TIDAL posted the update along with the simplistic ‘RENAISSANCE’ artwork.

Beyoncé confirmed she was working on new music last summer. “I’ve been in the studio for a year and a half,” she explained. “Sometimes it takes a year for me to personally search through thousands of sounds to find just the right kick or snare. One chorus can have up to 200 stacked harmonies.”

The singer continued: “Still, there’s nothing like the amount of love, passion, and healing that I feel in the recording studio. After 31 years, it feels just as exciting as it did when I was nine years old. Yes, the music is coming!”

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Back in November 2021, Beyoncé dropped a powerful new track called ‘Be Alive’ which appears on the soundtrack for King Richard.

Her forthcoming seventh full-length effort is listed as one of NME‘s 20 albums to get excited about in 2022 – check out the full run-down here.

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Al Stewart The Admiralty Lights: The Complete Studio, Live and Rare 1964-2009

Riding high in the US charts at the start of punk rock’s annus mirabilis, Al Stewart was eager to make clear to an NME interviewer exactly how well he was doing. “Only two albums from the British folk scene have ever got into the American Top 30,” said the 31-year-old, who had moved to California a few months earlier. “Out of Steeleye Span, Incredible String Band, Pentangle, Fairport Convention, Ralph McTell – you know the list – only two albums have ever made it. They’re Modern Times and Year Of The Cat – both by me.”

  • ORDER NOW: THE BEATLES ARE ON THE COVER OF THE LATEST ISSUE OF UNCUT

Having spent much of his career being regarded as a minor talent (“When I looked for respect all I got was neglect”, he fumed quietly on 1976’s “If It Don’t Come Naturally, Leave It”), commercial success proved to be intoxicating for Stewart. In the sleevenotes to this colossal summation of his life’s work – 21 commercially released albums, 18 live discs, eight sets of outtakes and home recordings and three more of BBC sessions, plus a 160-page book – Paul Simon’s one-time London flatmate remembers wallowing in his vindication as he took to the clubs of Los Angeles in 1977. “It is the only time that I have been truly happy in my life,” he recalls. “I was in the Rainbow Bar And Grill, I had a record in the Top 10 and every girl in the place wanted to come and sit on my lap.”

Born in Scotland but raised in genteel Dorset, Stewart was the skiffle king of Wycliffe House boarding school before graduating to rock’n’roll: his group, the Trappers, were originally Tony Blackburn’s backing band. He briefly took electric guitar lessons from Wimborne Minster maestro Robert Fripp, but found what felt like his calling when he first heard Bob Dylan. Reconfigured as a singer-songwriter with a sideline in Lewis Carroll surrealism, Stewart gravitated towards Soho and served his musical apprenticeship at Greek Street mecca Les Cousins.

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The Admiralty Lights features some unheard Phil Ochs-alike songs from this period, “Child Of The Bomb” and “Do I Love My Neighbour?”, plus the 1966 Tolkien knock-off, “The Elf”, that Stewart recorded as his debut single before being signed to CBS, apparently because the label wanted to get hold of The Piccadilly Line, who shared the same management. The company nonetheless invested considerable effort in making his debut album, Bedsitter Images, heavy-handed Judy Collins-style orchestration swamping Stewart’s self-conscious lyrics on the “Norwegian Wood”-ish “Swiss Cottage Manoeuvres” and his takedown of unhip suburbanites, “The Carmichaels”.

Follow-up Love Chronicles – featuring half of Led Zeppelin, most of Fairport Convention, and the first documented use of the word “fucking” on an overground record release – was Melody Maker’s folk album of the year for 1969. However, while Stewart’s Colin Blunstone-winsome voice and ear for a melody served him well on “Life And Life Only” and “You Should Have Listened To Al”, the ingrained sexual politics have not aged well, the romantic encounters depicted on “In Brooklyn” and the side-long title track uncomfortably close to the self-aggrandisement of the Playboy letters page.

A host of recordings from the early part of his career show why the genial Stewart was a popular club turn, the crowd at a 1971 Warwick University show being won over by his tale of meeting Leonard Cohen in the gents at Montreal Airport. However, if his early work aspired to the voice-of-a-generation cachet of Dylan and the confessional finesse of Joni Mitchell, he came across on record as a gauche wannabe, clean-shaven in a hairy age. Admirably self-aware, he told an interviewer in 1972: “I’m forced to admit, looking at the songs on the four albums that I’ve made, that all of them have been different but not different enough.”

He may not have realised it at the time, but with “Manuscript”, from his third outing 1970’s Zero She Flies, Stewart had found his USP. A taut meditation on the days leading up to World War I, shot through with family history and a report of a day at the beach at Worthing, it’s a magnificently dense piece, held in place by a meandering, teasing melody. Songs rooted in history (mostly military or naval) ultimately provided Stewart with an escape route from his own head and an endless supply of yarns to spin. Olde worlde material provided swashbuckling backdrops for all of his LPs from 1973’s Past, Present And Future – which features the ode to British sea power “Old Admirals” – though his subsequent ascent to million-sellerdom owed as much to a crowd-pleasing electric backing band and a determination to be born again in the USA.

While Stewart could still concoct distinctly British songs when the mood took him – hear the vengeful, Sandy Denny-worthy “The Dark And The Rolling Sea” from 1975’s Modern Times – it was a determinedly mid-Atlantic colour-palette, developed as he did the hard yards in American venues, that allowed him to thrive. The live recordings here show him ruthlessly stripping the oldies from his set by the middle of the decade, with the albums of his 1975–78 imperial phase a purposeful rejection of his folk-club days. They have a Fleetwood Mac-ish reach for the back of big venues, exotic Moody Blues touches and a Randy Newman smartness with a tasteful trace of Pink Floyd pomp courtesy of producer Alan Parsons.

Crucially, Stewart’s baroque melodies matched the grand drama of his subject matter; “Not The One” (“Queen Bitch”, approximately) from 1975’s Modern Times; “Sand In Your Shoes” and Amy Johnson tribute “Flying Sorcery” from 1976’s Year Of The Cat; Mock Tudor monstrosity “A Man For All Seasons” and “Almost Lucy” from 1978’s Hipgnosis-sleeved Time Passages. Mass-market oriented, but superbly engineered.

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Sales slowly declined thereafter, though The Admiralty Lights shows that Stewart did not give up easily. His 1980s records stand up well, the cheeseville production of Indian Summer and 24 Carrots gaining a pleasing patina with the passage of time, while other follies – such as his unreleased “(World According To) Garp” single and vintage wine-themed 2000 LP Down In The Cellar – show an artist with endless faith in their vision, however ridiculous. True to eccentric form, his most recent studio album, 2008’s Sparks Of Ancient Light, features riffs on the lives of classical adventurer Hanno
The Navigator and the final Shah of Persia, Mohammad Reza Pahlavi, among others.

Given the giant sweep of Stewart’s historical works, The Admiralty Lights is appropriately oversized. His songs can be wordy and portentous, and incur into David Brent territory at times (“negress”, as heard on “Zero She Flies”, is certainly not a word anyone else will be singing any time soon). However, that kind of linguistic overreach is the hallmark of a stylist with a burning need to impress – see also: Donovan, Steve Harley, Marc Bolan, Morrissey.

Judged on his early albums, Stewart was a two-bob Dylan with moderately heavy friends, but The Admiralty Lights shows that he raised his game magnificently from the mid-1970s. Those US chart figures he quoted in 1977 were a pointed reminder to the folkies back home that none of his Liege & Lief-literate contemporaries harnessed arcane drama as successfully as Stewart. And as Lord Nelson, Napoleon, Robespierre, Joseph Stalin and Winston Churchill would doubtless tell him if they had the chance, history loves a winner.

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50 Cent shares stacked line-up for ‘Green Light Gang’ Malta experience

50 Cent has announced that Akon, Fat Joe, and Trina will perform at his ‘Green Light Gang’ entertainment experience in Malta.

  • READ MORE: Soundtrack Of My Life: 50 Cent

Heartless Crew, Jeremih, DJ Premier, Remy Ma, and So Solid Crew are also among those slated to perform alongside the G-Unit head honcho, who will headline the event, which takes place September 22 – 26.

Teaming up with travel, music, and technology company Pollen, 50 has curated a series of events on the Mediterranean island. The four-day, four-night festival will include after-dark parties, cruises, and an outdoor cinema for screenings of the rapper’s hit STARZ TV series Power.

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“Turning up the heat, bringing OGs to #GreenLightGangMalta,” the rapper shared in a tweet which included the list of performers and a video announcement.

“What’s up Malta it’s your boy 50 cent,” he said in the video. “The Green Light gang is coming to your town we’re going to take over from September 22 to the 26, I’m talking about morning noon and night. I’m talking about the beaches I’m talking about cruises, I’m talking about live screenings of ‘Power’.”

50 Cent continued: “All-star hip-hop and R&B line-up, DJs, after parties, it’s going to be crazy. And, of course, that last night imma do my thing, so you already know what’s going down.”

You can sign up for early access for the event now, with accommodation bundles priced at £499 (basic package), £529 (standard), and £609 (premium). Find out more information here.

In other 50 news, he recently revealed that the Snoop Dogg TV series he was working on is no longer in production due to the network dropping “the damn ball”.

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The pair announced last December that they would be teaming up on A Moment In Time: Murder Was The Case, an anthology series focusing on the criminal events that occur behind the scenes of hip-hop history.

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Adele calls for “truth, justice and change” on fifth anniversary of Grenfell Tower fire

Adele has shared a new message of support for the survivors and bereaved families of the victims of the Grenfell Tower fire to mark the fifth anniversary of the tragedy.

Yesterday (June 14) marked five years since the 2017 blaze at the high-rise which killed 72 people in North Kensington, west London.

Writing on Twitter last night, Adele – who visited Grenfell in the hours following the fire in 2017 to comfort residents and those affected, and has subsequently paid tribute to the victims on numerous occasions – shared a post from Grenfell United, who represent the survivors and bereaved families of the fire.

“For five years we’ve had to endure a justice system that protects the powerful,” Grenfell United’s statement read. “A system that prevents justice. While this system exists, we face the same unachievable battle as the many before us.

“From Aberfan, to Hillsborough, justice has been denied & #Grenfell is no different.”

Adele shared that post on her Twitter account last night and added: “I stand with the Grenfell families. Follow @GrenfellUnited and join their campaign for truth, justice and change.”

AJ Tracey and Stormzy were among those in attendance at a memorial service that was held yesterday at the base of Grenfell Tower. A 72-second silence was observed by attendees at the event, which concluded with applause, before a silent two-mile walk was held in the local area.

During her An Audience With Adele TV special back in November, Adele paid tribute to Grenfell survivors and the firefighters who attended the scene in June 2017.

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Kanye West slams new Adidas slides as a “fake Yeezy”

Kanye West has called out Adidas over their recently-released Adilette 22 slide sandals, saying the shoe is “a fake Yeezy made by adidas themselves”.

  • READ MORE: ‘Donda 2’: Kanye West’s ego is scuppering these half-baked, dashed-off sounding songs

In a now-deleted Instagram post, the rapper shared an image of the slides – which sold out promptly following their release in May – alongside a message addressed to Adidas CEO Kasper Rørsted.

“I’m not standing for this blatant copying no more,” West wrote. “This is for everyone who wants to express themselves but feel they can’t cause they’ll [lose] their contract or be called crazy.”

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West goes on to say that the shoes “represent the disrespect that people in power have to the talent” before describing them as “a fake Yeezy”. West ends the caption by telling Rørsted to “come talk to” him directly.

West is likely drawing comparisons between the Adilette and his own Yeezy Slide line, which he launched in late 2019. Both shoes feature a similar lightweight, slip-on design and come in an earthy, beige tone, with Adilettes being slightly cheaper at $55 (£45).

As with all of West’s Yeezy shoes, they were released in collaboration with Adidas. West partnered with the brand in late 2013 and debuted their first collection in 2015. Under the terms of West’s contract with the Adidas, the rapper retains 100% ownership of Yeezy, and has full creative control over the products released through the brand.

Last month, West returned to Instagram to share a redesign of McDonald’s packaging, a collaboration with Muji industrial designer Naoto Fukasawa. It came after the rapper was briefly suspended from the social media platform in March for violating its policies on hate speech, bullying and harassment.

Last month also saw an official release of West’s collaboration with the late XXXTentacion, ‘True Love’, to coincide with the documentary Look At Me: XXXTentacion. The song originally appeared on West’s ‘Donda 2’, and was thus only available on the Stem Player that launched alongside the album.

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Deftones on new material: “There’s always a little something brewing”

Deftones’ Frank Delgado and Abe Cunningham spoke to NME backstage at Download Festival about the future of the band, the next generation of metal and 25 years of second album ‘Around The Fur’.

  • READ MORE: Deftones: “Even in our worst moments, we persevere”

This weekend saw the Sacramento metal veterans play Donington Park for the fifth time – a number matched by glam-rock icons and headliners KISS. Unlike KISS though, Deftones have no plans to retire any time soon. Or, as drummer Cunningham puts it: “Fuck no! We just sat at home for three years. We’ve got tonnes of fire to keep doing this.”

In that spirit, Delgado said that the band were “still only scratching the surface” of their acclaimed 2020 album ‘Ohms’. “It feels like we’re only just getting started,” he said. “We open with a new one as well. (‘Genesis’) is a banger and we feel it deserves the attention. It’s us putting our dick on the fucking table, basically.”

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The build-up to this run of shows hasn’t been entirely smooth. In March, long-term bassist Sergio Vega announced he was quitting the band, before going on to say it didn’t offer him “a sense of belonging”. Then, following a US headline tour, guitarist Stephen Carter announced he would be sitting out of this European tour. “With everything going on in the world, I’m just not ready to leave home and leave the country yet,” read a statement.

In spite of everything, Delgado did tell NME that the band were very much “enjoying themselves”. “It feels good to be back out, doing what we‘ve always done,” he added. It’s been a lot of fun and we’re all having a blast.”

Once their European tour ends in July, Deftones are heading home to “chill for a bit”, according to Cunningham. There are plans for the third annual Dia De Los Deftones festival to take place later this November in San Diego (“but maybe it will move around one day”) alongside talk of an Australian tour. “That’s it for the year basically so maybe we’ll try and jam on some new songs,” said Cunningham. “There’s always a little something brewing”.

While 2012’s ‘Koi No Yokan’ and 2016’s ‘Gore’ saw the band get experimental with synths, ‘Ohms’ was a return to the heavy fury of their earlier work. Do the band know what direction they want to head in next?

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“The next one is going to be soft as hell,” replied Cunningham, joking. “Everyone’s going to weep uncontrollably for months. There’ll be a tissue shortage around the world. “No, for better or worse, there are never any rules or preconceived thought put into much of what we create. It’s mostly just jamming it out and seeing what happens.”

He went on: “When we get together and write, it’s 70 per cent about the hang. If that’s going well, shit comes out. When it’s no longer fun, that’s a problem. There have been times like that. It’s part of being around for a long, long time, so we try to keep it on the light side these days.”

Delgado added: “It’s about working through those things, which I think we’ve got really good at. We just want to get along, have fun and something usually comes out of that.”

Deftones postpone US summer tour 2020 coronavirus
Chino Moreno performing in Deftones in 2018 Credit: Miikka Skaffari/FilmMagic via Getty Images

Heavy music is having somewhat of a resurgence at the moment, with the likes of Code Orange, Spiritbox and Poppy breathing new life into old ideas. Rather than being scared of the new, Deftones embrace it.

“It’s always good when people are able to put their best foot forward and feel like they’re fitting in, without worrying about being part of a scene,” said Delgado. “Sometimes you need to be that thorn. We were always the thing that stuck out, because we were not the same.”

He continued: “Things go in phases, but one thing that I think I noticed is that so much music uses click tracks and backing tracks these days, so there’s so much perfection, which is a trip for me because there’s never been any of that with us.

“People are so used to seeing a perfect show, they expect things to sound exactly like the record but there’s something about a raw, visceral performance with tension that will always speak to some people. Others might say it sounds like shit but in a time when everything sounds and looks so perfect, I think some warts and all are important.”

  • READ MORE: “This record embedded in our brains”: the endless power of Deftones’ ‘White Pony’

This year also marks the 25th anniversary of Deftones’ acclaimed second album ‘Around The Fur’. Not that the band have any plans to celebrate just yet – they didn’t even know about the milestone until NME told them.

“Making that album was the most amazing time,” said Cunningham. The band had signed a two-firm record deal, meaning they were guaranteed a second album regardless of how their debut did. “With that first record, we were able to see a tiny bit of the world and we came back that much more confident and comfortable. There was just this excitement that we got to do it again.

“I can’t listen to our first record, because we just sound like a young band. We still play those songs live and we enjoy them, but ‘Around The Fur’ just sounds so much better. That 25-year-old album is a very special record. I really like it, so I will definitely give it a piece of cake and a cheers but honestly, I’d rather work on some new tunes if we can.”

So what does the future of Deftones look like? “Hopefully onwards and upwards, replied Cunningham. “We’re happy as hell to be here right now. We’re super stoked to be able to do this and we’re really enjoying ourselves.”

Delgado then added: “We’re having fun and looking forward to the future, without it feeling like a burden on anyone.”

Deftones play an intimate show at London’s O2 Forum Kentish town before a summer of festivals including Mad Cool, HellFest and InMusic. Visit here for tickets and more information.

Meanwhile, frontman Chino Moreno is preparing to release a slew of more singles and a new album from his art-rock side-project ††† Crosses.

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“Messy” By Emily Litta Is Today’s Must-Hear

Gorgeous Emily Litta takes her music to the next level with “Messy”, a single about the cobwebs of social media. According to the song, many people keep up with their appearance on social media, and the attention they receive has its damaging consequences. Maintaining the thin line of balance is “messier” than we think.

Emily Litta fuses her international background into the 90’s laced pop melodies that have a futuristic vibe to them. Highly introspective and full of fascinating revelations, the artist’s music has the power to take the listener to locations unknown, and you are still guaranteed to have a great time. Give Emily Litta’s “Messy” a listen down below. 

Stay tuned and follow Emily Litta on: InstagramSpotifyTikTokSoundcloud

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Watch Halsey cover Kate Bush’s ‘Running Up That Hill’ at Governors Ball 2022

Halsey performed a cover of Kate Bush’s ‘Running Up That Hill’ at the Governors Ball over the weekend.

  • READ MORE: Halsey: “I’ve always been driven to reinvent myself and reinvent my genre”

The 1985 single has been witnessing a resurgence after it featured as a prominent part of the storyline in Stranger Things 4.

The track landed at Number Two on the official UK Singles Chart over the weekend and is now challenging for Number One, according to the midweek charts. ‘Running Up That Hill’ previously peaked at Number Three, and gave Bush her highest chart position since ‘Wuthering Heights’ went to Number One in 1978.

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In response to one fan video of the cover, which you can view below, Halsey tweeted: “Truly wish I wrote this song more than anything in the world I’m soooo happy it’s having this resurgence. I knew immediately I wanted to do this.”

Halsey also took the opportunity to perform her new single ‘So Good’ live for the first time.

The release of the song was a rocky one for the singer, who posted a video on TikTok in May telling their followers that their label wouldn’t let them drop it until they could “fake a viral moment” on the app.

The video, which Halsey later called a “TikTok tantrum”, garnered over a million likes, and in the aftermath, Capitol Records tweeted on May 31 that they “love” and “support” Halsey, saying they would commit to releasing ‘So Good’ on June 9.

‘So Good’ is the first release from Halsey since January, when they dropped an extended version of ‘If I Can’t Have Love, I Want Power’, from their 2021 album produced with Trent Reznor and Atticus Ross.

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In February, Halsey received the Innovation Award at the BandLab NME Awards 2022.

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SEVENTEEN’s Dino surprises fans with new solo song ‘High-Five’

SEVENTEEN member Dino has released a brand-new self-written solo track titled ‘High-Five’

  • READ MORE: ‘SEVENTEEN Power Of Love: The Movie’ review: a sentimental love letter to fans

Yesterday (June 12) at Midnight KST, the SEVENTEEN singer surprised fans with an upbeat self-penned solo song called ‘High-Five’, which was released on the boyband’s official YouTube channel.

To the rhythm, give me a high-five / You know that, It’s like our own world, high-five / It’s not hard, oh,” Dino sings on the cheerful chorus, per Genius. In addition to writing its lyrics, the idol had co-composed the track with PRISMFILTER’s Hey Farmer, who had worked on the songs ‘Pang!’ and ‘2 Minus 1’ from the group’s 2021 mini-album ‘Attaca’.

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‘High-Five’ is Dino’s first solo release of 2022, and follows his November 2021 solo track ‘Last Order’. The idol had previously also dropped the mixtapes ‘0 (Zero)’ and ‘The Real Thing’ in 2017.

The song arrives just two weeks after SEVENTEEN returned with their fourth studio album ‘Face The Sun’, led by the title track ‘Hot’. In a glowing four-star review of the record, NME‘s Abby Webster said that the song “blazes forward into new territory with its brazen sensuality”.

The new full-length record features a total of eight tracks, all of which were co-written and -composed by member Woozi and frequent SEVENTEEN collaborator and producer Bumzu. ‘Face The Sun’ was preceded by the release of the single ‘Darl+ing’ in April, which notably marked SEVENTEEN’s first-ever English single performed by all 13 members of the boyband.

During a recent interview, SEVENTEEN revealed that the title track ‘Hot’ had been the final track to be completed on the album. “‘Hot’ was the last track [that we] finished in this album,” said Woozi. “It was the first track I started but due to several revisions, somehow, ‘Hot’ became the last track to be done throughout ‘Face the Sun’.”

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Watch Halsey perform ‘So Good’ for the first time at Governors Ball 2022

Halsey has performed their new single, ‘So Good’ live for the first time. Watch clips of the performance below.

The singer was headlining Governors Ball tonight (June 11) when they surprised fans with a live rendition of the track from the festival’s main stage.

  • READ MORE: Halsey: “I’ve always been driven to reinvent myself and reinvent my genre”

The release of the song was a rocky one for the singer, who posted a video on TikTok in May telling their followers that their label wouldn’t let them drop it until they could “fake a viral moment” on the app.

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The video, which Halsey later called a “TikTok tantrum”, garnered over a million likes, and in the aftermath, Capitol Records tweeted on May 31 that they “love” and “support” Halsey, saying they would commit to releasing ‘So Good’ on June 9. Now, a few short days after its release, they sung the heartfelt song to a New York City crowd.

Halsey also covered Kate Bush’s ‘Running Up That Hill’ during their set. The 1985 single has been witnessing a resurgence after it featured as a prominent part of the storyline in Stranger Things 4.

In response to one fan video of the cover, they tweeted, “truly wish I wrote this song more than anything in the world I’m soooo happy it’s having this resurgence. I knew immediately I wanted to do this.”

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Earlier this week, Halsey shared an accompanying video for ‘So Good’ which detailed their love story and relationship with filmmaker Alev Aydin.

“The film we created for ‘So Good’ really tells the full story of the song in the way I intended,” Halsey said. “Using the [Samsung] Freestyle [projector], Alev and I were able to share a glimpse of the way that we fell in love: watching romantic films together. But this time, the Freestyle is playing real home movies from our life together. For us, this makes ‘So Good’ come to life in a really special way that we’re so excited share with fans.”

‘So Good’ is the first release from Halsey since January, when they dropped an extended version of ‘If I Can’t Have Love, I Want Power’, their 2021 album produced with Trent Reznor and Atticus Ross.

In February, Halsey received the Innovation Award at the BandLab NME Awards 2022.

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Halsey shares their love story in ‘So Good’ video

Halsey has given fans a look into their love story in the video for their new single ‘So Good’.

The song, which was released on Thursday (June 9), details the singer’s relationship with filmmaker Alev Aydin, whom they met when he was hired to write a movie about their life.

  • READ MORE: Halsey: “I’ve always been driven to reinvent myself and reinvent my genre”

The accompanying video depicts that, with Halsey playing director and watching Aydin working with a female actor. As a scene is about to be filmed, they comment: “No, it’s not right yet” and walks onto the scene, observing Aydin and the actor closer.

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Throughout the clip, both partners are seen with other people, before a projector starts to flick through home videos of the couple once they’d gotten together. Looking over at a male actor playing their partner, Halsey sings, “Do I think about the one who got away? / I know his name, I think about him every day,” before walking over to the real Aydin and kissing him.

Watch the video, which was directed by Aydin, below now.

“The film we created for ‘So Good’ really tells the full story of the song in the way I intended,” Halsey said in a press release. “Using the [Samsung] Freestyle [projector], Alev and I were able to share a glimpse of the way that we fell in love: watching romantic films together. But this time, the Freestyle is playing real home movies from our life together. For us, this makes ‘So Good’ come to life in a really special way that we’re so excited share with fans.”

The path to releasing ‘So Good’ was a rocky one for Halsey, who posted a video on TikTok in May telling their followers that their label wouldn’t let them drop it until she could “fake a viral moment” on the app.

“Basically i have a song that i love that i wanna release ASAP but my record label won’t let me…ive been in this industry for 8 years and ive sold over 165 million records…i deserve better tbh,” they wrote on a video.

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They later continued to update fans about the status of new music in the video’s comment section, writing that Capitol Records “just said I have to post tiktoks; they didn’t specifically say ‘about what’ so here I am.”

‘So Good’ is the first release from Halsey since January, when they dropped an extended version of ‘If I Can’t Have Love, I Want Power’, their 2021 album produced with Trent Reznor and Atticus Ross.

In February, Halsey received the Innovation Award at the BandLab NME Awards 2022.

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Muse’s Matt Bellamy says Trump’s reign of division allowed Putin to “cause chaos” in the West

Muse’s Matt Bellamy has claimed that Donald Trump’s reign of division in the US allowed Vladimir Putin to “cause chaos” in the West.

The frontman was talking to NME for this week’s Big Read cover story, ahead of the Devon rockers’ new album, ‘Will Of The People’, being released in August.

  • READ MORE: Muse: “There’s gonna be a big shift. We’re dealing with a disruptive transition”

Discussing a lyric in the record’s title track that declares, “We need a revolution so long as we stay free”, Bellamy began: “It’s a worrying time because there is a chance here. There’s a window for a lovely new kind of political model or socio-economic structure that could be really good. A good change is possible, but the problem is you have these authoritarians that are realising that they can capitalise on disruption.”

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Confirming “these authoritarians” was a reference to Trump, the musician described the former US president as “represent[ing] the worst of the worst”. “What he did was destroy the country by creating massive division,” he explained.

Matt Bellamy of Muse on the cover of NME
Matt Bellamy of Museon the cover of NME

“By any measure, a great leader is somebody who can unify their own people against external threats, and he’s done the exact opposite of that. He made them all turn against each other, and that’s what actually caused the whole of the West to become vulnerable enough where Putin can do what he’s doing now… It’s his complete lack of knowledge about the forces that unify the West like NATO and liberal democracy that has caused this chaos.”

Asked whether he thought Putin had been pulling Trump’s strings while he was in power, Bellamy replied: “I’d say it’s more a case of Putin [thinking], ‘Let’s encourage the chaos – the division’. And the more he could create this dismantling of the West, the more likely he was to be able to get away with what he’s been wanting to do for a long time, which is reclaim the old Soviet states.”

Check out the full Big Read cover interview with Muse here. In it, Bellamy also talks about investing in technology that is hoped will solve the energy crisis, his hopes for “a new type of politics” and the impending “end of a certain cycle of civilisation”.

Meanwhile, Muse kicked off their summer tour last weekend (June 4) at Rock Am Ring 2022, dusting off rarities and performing the unreleased track ‘Kill Or Be Killed’ and recent single ‘Will Of The People’ for the first time. The set also included a live debut for Bellamy’s solo track ‘Behold, The Glove’.

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The band’s summer dates will see them perform at festivals across Europe, including Firenze Rocks, Isle Of Wight Festival, Mallorca Live and more.

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Watch Lorde cover Bananarama’s ‘Cruel Summer’ at Primavera Sound 2022

During her headlining set at this year’s Primavera Sound festival, Lorde delivered a cover of Bananarama’s 1983 hit ‘Cruel Summer’.

  • READ MORE: Lorde live in Minneapolis: artist for the ages crafts euphoric, three-act extravaganza

The Kiwi singer has long been known to indulge in cover songs: in the past few months alone, she’s put her idiosyncratic spin on ‘Run Away With Me’ by Carly Rae Jepsen, ‘The End Has No End’ by The Strokes and ‘HENTAI’ by Rosalía.

Her ‘Cruel Summer’ cover came exactly halfway through her Primavera set – which she performed on the Pull & Bear stage last night (June 10) – sandwiched between ‘Mood Ring’ from last year’s ‘Solar Power’ and ‘Liability’ from 2017’s ‘Melodrama’.

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Take a look at fan-shot footage of the performance below:

Lorde is currently on tour in support of ‘Solar Power’, her third full-length effort, which landed last August via Universal. The album scored a five-star review from NME, in which Rhian Daly wrote: “This is an album that grows in quiet stature with every listen, new nuggets of wisdom making their way to the surface, peeking through its beautiful instrumentation that weaves a stunning, leafy tapestry.”

Last week, Lorde thanked fans for the support she’d received following the album’s release, and revealed that she’s “getting nearer” to writing nothing but “bangers” again.

“It’s so interesting to me how writing a big, bright pop song has been the thing that’s defined my life,” she said onstage in London. “This thing I started trying to do when I was 14-years-old because I would turn on the radio and love that feeling, what it did to me. It became like an addiction, I just wanted to keep trying to construct the perfect thing that would hit you in the heart emotionally, over three-and-a-half minutes.”

She went on to say that while those big pop songs have been “the guiding force in [her] life”, she moved away from writing them after ‘Melodrama’ due to the state of current affairs. She continued: “We’ve had a really difficult, painful, lonely few years and artists take that, and they process it and they make something that’s maybe quieter, or more private. But the banger will always be on the horizon.”

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In other news, Lorde has praised Kendrick Lamar‘s new album ‘Mr. Morale & The Big Steppers’, particularly noting the record’s emotional maturity and attempt to process difficult subjects through creative expression.

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Demi Lovato returns with punky new single ‘Skin Of My Teeth’

Demi Lovato has shared a brand new track and video called ‘Skin Of My Teeth’ – watch the video for the punky new track below.

  • READ MORE: Demi Lovato – ‘Dancing with the Devil… the Art of Starting Over’ review: raw, cathartic pop

The singer announced the song last week as the first taster of upcoming eighth studio album ‘Holy Fvck’.

The album follows over a year on from their 2021 album ‘Dancing With The Devil… The Art Of Starting Over’, and is set for release on August 19 via Island Records.

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On the track, Lovato sings: “Demi leaves rehab again/When is this shit gonna end,” adding: “Sounds like the voice in my head/I can’t believe I’m not dead.”

Watch a performance of the track and its debut live performance on The Tonight Show With Jimmy Fallon last night (June 9) below.

In a press statement, Lovato described the creative process of ‘Holy Fvck’ as “the most fulfilling yet” out of all of their studio albums. “I’m grateful to my fans and collaborators for being on this journey with me,” they said. “Never have I been more sure of myself and my music, and this record speaks that for itself.”

Lovato went on to thank their fans – commonly known as “Lovatics” – for their support, whether they have been “rocking out with me since the beginning” or “just now coming along for the ride”.

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“This record is for you,” Lovato concluded.

Reviewing last year’s ‘Dancing With The Devil… The Art Of Starting Over’, NME wrote: “Powerful, purposeful and uncompromising, this is their definitive artistic statement to date. Demi Lovato is done pretending, and it really suits them.”

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Bop Shop: Kate Bush Edition

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn't discriminate by genre and can include anything — and this week, inspired by Kate Bush's big Stranger Things chart bump, we've devoted the entire roundup to her songs, including some of our favorite covers.

After being featured prominently in Season 4 of the hit Netflix show, Bush's 1985 art-pop single "Running Up That Hill (A Deal With God)" landed in the Top 10 of Billboard's Hot 100 chart and saw immense gains in streaming — introducing an entire new generation to the work of an innovative musical genius. So, let's keep celebrating. Get ready: The all-Kate Bush Bop Shop is now open for business.

  • Kate Bush: "Get Out of My House"
    https://www.youtube.com/watch?v=_uHUUwgGW5c

    I'm not going to pretend "Running Up That Hill" isn't an all-time great song (as Big Boi well knows). But if the Duffer Brothers really wanted to make some skin crawl, "Get Out of My House" was right there! The nearly six-minute panic attack of paranoia and ghostly voices is genuinely the scariest piece of music I've ever heard and was apparently inspired by Stephen King's The Shining. But what's more terrifying is imagining, as Bush does here, that it's all in your head. —Patrick Hosken

  • Kim Petras: "Running Up That Hill (A Deal With God)"

    We’d be remiss not to include a cover of the track which inspired the Kate Bushaissance, especially since it comes from pop princess Kim Petras. Although she remains fairly faithful to Bush’s original version, the synths seem to strike louder and the beats pulse harder, twisting the classic into a bop that wouldn’t sound out of place in a neon-lit ’80s gay club. Interestingly enough, Petras had already recorded her rendition ahead of its Stranger Things resurgence. “It means so much and it’s so elusive,” she said in a statement. “You can definitely decide what you want it to mean. For me, it’s about equality. And my timing for this was strangely perfect!” —Carson Mlnarik

  • Ra Ra Riot: "Suspended in Gaffa"
    https://www.youtube.com/watch?v=r1InBKsbzIw

    Before I knew who Kate Bush was, I knew Ra Ra Riot. And when the chamber-pop indie greats covered the jaunty "Suspended in Gaffa" in 2008, they opted to keep the sweeping vocal runs of Bush's verses but represent them with violin and cello — a change that works beautifully as a sonic swap and as a reminder of how much a force of nature Bush's vocals actually are. Hearing both back to back is a startling reminder of Bush's total supremacy. Highly recommended. —Patrick Hosken

  • Kate Bush: "Sunset"
    https://www.youtube.com/watch?v=hYQR1ZM6zz4

    To be a Kate Bush fan in the early 2000s was to live through a drought. Bush hadn’t released an album since 1993’s The Red Shoes, and we were beginning to wonder if our Cornwall queen would ever gift us with new music. In 2005, she finally released her double album, Aerial, and it did not disappoint. She started the new era with the groovy and moody lead single, “King of the Mountain,” and kept it kooky with songs like “Pi,” where she sang the numerical digits of pi. But it’s “Sunset,” a piano ballad halfway through Aerial’s second disc, that really encapsulates the beauty of the collection. Just when you think the song will soothe you into a lovely slumber, it turns into an upbeat guitar number, with Bush living out her flamenco fantasy. —Chris Rudolph

  • Wild Nothing: "Cloudbusting"
    https://www.youtube.com/watch?v=_j3wBGU-3aw

    Jack Tatum's early records as Wild Nothing were intoxicatingly vaporous, all gossamer strands of barely perceptible dreams. When he set about covering a lush Kate Bush classic in 2010, he dialed up the reverb and the synth atmosphere, recreating the exact conditions of humidity that the title activity implies. The whole thing will leave you drenched but renewed, like walking out of a sauna. —Patrick Hosken

  • Kate Bush: "Why Should I Love You?"
    https://www.youtube.com/watch?v=kuVwVT35lVE

    There’s nothing else in Kate Bush’s discography that sounds quite like this The Red Shoes cut, and for good reason: It’s one of the genre-defying singer-songwriter’s two collaborations with Prince. Bouncing between beautiful and bizarre, it’s easy to see The Purple One’s influence all over the track, from its reverb-drenched guitar solo to his shining falsetto and the magically jubilant vocals he twists out of Bush herself. Dig a little deeper, though, and you’ll realize this isn’t the typical love song its ecstatic chorus (“Of all of the people in the world / Why should I love you?”) might suggest. After all, who else besides these musical pioneers could pull off a line like “Have you ever seen a picture of Jesus laughing?” in the second verse. —Carson Mlnarik

  • Kate Bush: "Hounds of Love"
    https://www.youtube.com/watch?v=VerK4zwMRQw

    Imagine you could produce drum sounds like Kate Bush can. What would you do with that superpower? As you consider, I suggest listening to "Hounds of Love" on loop and gathering inspiration for your own creative pursuits. You might end up harnessing the grand power of a cathedral-sized percussion as she does on the title track to 1985's Hounds of Love. But could you sing "I don't know what's good for me / I need love, love, love, love, love, yeah / Your love" the way she does, as if an avalanche is tumbling outside and it's the last thing she'll ever say? Consider the immense power of both talents — big drum prowess and emotionally shredding vocal delivery — and humble yourself accordingly. —Patrick Hosken

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Halsey releases ‘So Good’, the song they say their label withheld until they could “fake a viral moment on TikTok”

Halsey has shared their new single, ‘So Good’ – the song they claim their label would not release until they could “fake a viral moment on TikTok”.

  • READ MORE: Labels pushing artists to make TikToks: you’re spoiling the fun (and that’s not even the worst of it)

Halsey’s first offering of 2022, the song is the track the artist claimed their label Capitol Records was withholding from release. In May, Halsey took to the app, telling followers that ‘So Good’ wouldn’t drop until they could “fake a viral moment on TikTok”.

“Basically i have a song that i love that i wanna release ASAP but my record label won’t let me…ive been in this industry for 8 years and ive sold over 165 million records…i deserve better tbh,” they wrote.

@halsey

I’m tired

♬ original sound – Halsey

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Halsey later continued to update fans about the status of new music in the video’s comment section, writing that Capitol Records “just said I have to post tiktoks; they didn’t specifically say ‘about what’ so here I am.”

The video, which Halsey later called a “TikTok tantrum”, garnered over a million likes, and in the aftermath, Capitol Records tweeted on May 31 that they “love” and “support” Halsey, saying it would commit to releasing ‘So Good’ on June 9.

Halsey has since revealed ‘So Good’, which was produced by Max Martin and Tobias Karlsson, is about “about the friend that was always there for me, who I realized I was in love with one day”, and thanked her fans for their warm reception to the song.

“I think this is the biggest and best reaction to a song release I have ever seen from you guys,” they tweeted. “I’m truly giddy. all of this was so worth it. I had a gut feeling this was a good one.”

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Hear ‘So Good’ below:

Halsey is one of many musicians who have voiced their frustrations with the demands of TikTok virality. Earlier this month, Post Malone revealed he struggles “to make something natural” on the platform. FKA Twigs also said in a since-deleted video that “it’s true all record labels ask for are TikToks”.

‘So Good’ is the first release from Halsey since January, when they dropped an extended version of ‘If I Can’t Have Love, I Want Power’, their 2021 album produced with Trent Reznor and Atticus Ross.

In February, Halsey received the Innovation Award at the BandLab NME Awards 2022.

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STAYC unveil cover of BLACKPINK’s ‘Ddu-du Ddu-du’

STAYC recently performed a high-energy cover of BLACKPINK’s hit single ‘Ddu-du Ddu-du’, as part of their appearance at the ‘KCON 2022 Premiere’ event in Seoul.

  • READ MORE: KCON 2022 Premiere In Chicago review: a reminder of the euphoric joy song and dance can spread

The rookie girl group’s performance of ‘Ddu-du Ddu-du’ was part of their set list as performers at this year’s ‘KCON 2022 Premiere’ in Seoul, a precursor event to the full in-person return of ‘KCON 2022’ this year.

Adorned in matching bubblegum pink outfits, the six members of STAYC delivered a powerful vocal and dance cover of the hit 2018 track while mostly staying true to the original instrumentation, save for its shortened duration.

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STAYC’s appearance at the Seoul rendition of ‘KCON 2022 Premiere’ earlier in May marks their KCON debut. The three ‘KCON 2022 Premiere’ events – which also took place in Chicago and Tokyo last month – served as a special kick-off to the main 2022 instalment of KCON, which will take place in Los Angeles from 19 to 21 August.

KCON was first held in 2012 in the Californian city of Irvine, before going on to visit nine more cities and regions across North America, Europe and Asia. The festival managed to rake in approximately 291,000 visitors at their last in-person event in 2019.

STAYC made a comeback in February with their sophomore mini-album ‘YOUNG-LUV.COM’ and its lead single ‘RUN2U’ alongside a glitzy new music video. The group later appeared on live music show Yoo Heeyeol’s Sketchbook to promote the release, where they also performed a heartfelt cover of BTS’ ‘Mikrokosmos’.

In a glowing four-star review of the mini-album, NME’s Angela Patricia Suacillo described the record as “not just a demonstration of where their growth has taken them, but a promise to constantly up the ante”.

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Angel Olsen Big Time

Angel Olsen’s records are most often characterised as heartbreak music – love, loss and loneliness expressed with almost desperate intensity and a directness that has its own poetry. It’s a reasonable take but, as is the case with so many female singer-songwriters, it overlooks her music’s thoughtfulness and ignores Olsen’s agency, as if the artistic decisions she makes always take a back seat to the emotions that inform her songs.

  • ORDER NOW: Queen are on the cover of the latest issue of Uncut

A couple of recent projects alone, though, prove that internal weather systems don’t direct all of Olsen’s creative moves. Two years after the triumph of 2019’s All Mirrors, which saw her teaming up with Jherek Bischoff and John Congleton for a synth-blasted set full of lavish orchestrations and saturnine theatricality, came a covers EP. A move so leftfield it played as almost frivolous, “Aisles” saw Olsen taking on the likes of Laura Branigan’s “Gloria” and (most startlingly) “The Safety Dance” by Men Without Hats. It was, it seems, a way for her to loosen her reputation for unbending conviction. Around the same time, there was a writing and recording hook-up with Sharon Van Etten for “Like I Used To”, a welcome reminder, Olsen said then, of the power of collaboration and the release from expectation it brings.

Her sixth, co-produced by Jonathan Wilson, executes no radical stylistic swerve but neither are its 10 songs of a single type. Rather, they’re a balancing of country – here are echoes of Tammy, Emmylou and Lee Hazlewood – and torch song (kd lang, Roy Orbison), with the odd flourish of cocktail-lounge melancholy (a la Badalamenti) and classic, MGM-style orchestrations. Nor do they rely on the slow-build-to-giddy-headrush dynamic that made All Mirrors so irresistible.

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That said, “Go Home” – a towering, burnished beauty where Olsen, her voice swathed in anguish and velveteen reverb, cries “I wanna go home, go back to small things, I don’t belong here, nobody knows me” – would have sat well on that record. Despite a large cast of players, including one-man orchestra Wilson, this is a smaller record than All Mirrors, which may in part be an inverse reaction to the overwhelming nature of its author’s recent life events, but is more likely the fact that she’s settled on a ground between artistic high drama and dark introspection.

The “big time” in question clearly isn’t a reference to household-name success – that’s hardly Olsen’s interest, nor would she be so crass. Rather, it’s how her partner expresses her feeling: “I love you big time.” As a title it both celebrates their relationship and represents Olsen’s newfound liberation, while also describing a period of huge personal upheaval. Though publicly out since last year, she hadn’t declared her queerness to her parents but after she finally did, the couple celebrated with friends. Just three days later, Olsen’s father died; within weeks, she lost her mother, too. All of which suggests a record soaked in grief, but the exultancy of new love and the relief of hard-won selfhood are in play, too.

The set opens with the easy-swinging “All The Good Times” and Olsen’s declaration: “I can’t say that I’m sorry when I don’t feel so wrong anymore”, her truth burning through others’ presumptions, her liberated shrug almost audible over the light brushing of pedal-steel guitar, a murmuring organ and subtle horn punctuations. The title track, co-written with Olsen’s partner, follows right behind, delivering a twangin’, honky-tonk kick with a touch of Kitty Wells, but the mood changes with “Ghost On”, a spangled, waltz-time swoon, heavy on the reverb and regret: “The past is with us, it plays a part/How can we change it?/How do we start?” she wonders. “This Is How It Works”, a fluid, beautifully underplayed standout, sees lapping pedal-steel guitar and Feldman’s keys making light and elegant work of heavy emotions – accepting the inevitability of death and finding the strength to bear grief’s battering. Midway sits the tremulous and hushed “All The Flowers”, which could be Vashti Bunyan, had she spent time in Topanga Canyon.

The album closes on a sweetly romantic note with “Chasing The Sun”. Here, a simple piano coda signifies the shift from darkness to light, Olsen’s soft, cocktail-lounge coo ushering in the Hollywood strings before she notes: “Write a postcard to you when you’re in the other room/I’m just writing to say that I can’t find my clothes/If you’re lookin’ for something to do”. Then, with a sudden vocal leap, Olsen is soaring, her soul, as well as voice, bursting. She sounds dizzy with the realisation that she’s been “having too much fun doing nothing” and finally – in this new chapter at least – “driving away the blues”.

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Kirk Hammett says Metallica “warned everyone” of the issues with streaming

Metallica guitarist Kirk Hammett says he believes the band warned people that streaming services “wouldn’t work” as a new form of business.

  • READ MORE: Streaming – what happens next? Artists demand “a shift in the way business is done”

“We warned everyone that this was gonna happen,” Hammett told Classic Rock in a new interview. “We warned everyone that the music industry was gonna lose 80 percent of its net worth, power and influence. When these monumental shifts come you just either fucking rattle the cage and get nothing done or you move forward.

“There’s definitely a new way for getting music out there, but it isn’t as effective as the music industry pre-Napster,” Hammett added. “But we’re stuck with it. There needs to be some sort of midway point where the two come together, or another completely new model comes in.”

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Spotify
CREDIT: Chesnot/Getty Images

Earlier this year, the UK government’s Competition and Markets Authority (CMA) formally launched a new study to examine the music streaming market.

The announcement followed on from the Digital, Culture, Media and Sport Select Committee’s ‘Economics Of Music Streaming’ report, which was published last summer and led to the government calling on the CMA to start an investigation into the matter.

Spotify has come under fire previously for its low artist payments, with the likes of David Byrne, producer Tony Visconti and David Crosby all criticising the platform recently.

Visconti described the streaming service as “disgusting” over its low payments to artists. “Spotify is disgusting, the money they make out of [artists],” he said. “If you had 12 million streams, you could barely afford lunch for two people. It’s ridiculous, I don’t know why it’s allowed. Spotify does nothing to support the culture of music.”

In 2013 Byrne criticised the “pittance” artists are paid while David Crosby said recently: “I don’t like any of the streamers, because they don’t pay us properly. Their proportion is wrong. They’re making billions with a ‘b’ and they’re paying out pennies with a ‘p.’”

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Back in December, Kevin Brennan MP’s bill on reforming musicians’ remuneration – dubbed the ‘Brennan Bill’ – failed to make it through the House of Commons.

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Princess Nokia shares “love letter to Puerto Rico” via new track ‘Diva’

Princess Nokia has shared a new single called ‘Diva’ along with a new music video. Check out the clip below.

  • READ MORE: Princess Nokia: “I have a very resourceful spirit – a survivor’s spirit”

The rapper recorded the video in Puerto Rico, and in the song, she pays homage to “the queens who inspire me” including Beyoncé, Aaliyah, Selena and more.

In the video, Nokia is seen in Puerto Rico, dancing, standing in nature, and riding in a vintage car, as she sings, “I feel like Beyoncé, I feel like Shakira / Lemonade I’m juicy hips don’t lie Selena/ Britney, Christina, rest in peace Aaliyah/ I feel like a goddess I feel like a diva.” 

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On Sunday (June 12), Nokia also announced she’d be joining the Working Families Party on their Puerto Rican Day Parade float, marching in solidarity with the Puerto Rican Sovereignty movement.

The New York-born Puerto Rican singer-songwriter recently shared her first new music of 2022. The rapper ended 2021 by teaming up with Yung Baby Tate for a new track called ‘Boys Are From Mars’, which followed ‘It’s Not My Fault’ from March of last year.

The track came with a video directed by Travis Libin that sees Princess Nokia and her crew hanging out at a skatepark. In 2020, Princess Nokia released two albums simultaneously in ‘Everything Is Beautiful’ and ‘Everything Sucks’.

In a three-star review of the pair, NME said: “Thematically, ‘Everything Sucks’ and ‘Everything is Beautiful’ fail to deliver anything new. They have all the hallmarks of a Princess Nokia record – female empowerment, introspective monologues about her childhood and Bruja spirituality (a type of witchcraft practised by some Latin American populations).

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“Musically, she is yet to develop a cohesive sound […] ‘Everything Sucks’ often feels something like a musical patchwork quilt; all the sounds are stitched together but remain distinctly separate. Perhaps, given Princess Nokia’s notoriously protean nature, this is the point of this whole project.”

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Little Feat reveal Waiting For Columbus Super Deluxe Edition

Little Feat‘s 1978 live double album Waiting For Columbus has been expanded for a new Super Deluxe Edition to mark its 45th anniversary.

  • ORDER NOW: Queen are on the cover of the latest issue of Uncut

The original album was recorded over a series of live shows in London and Washington, D.C. during summer 1977. This 8-disc box set includes a newly remastered version of the original double album on 2 CDs, as well as three unreleased concerts on the remaining 6 CDs – at Manchester City Hall (July 29, 1977), The Rainbow (August 2, 1977), and Washington D.C. at Lisner Auditorium (August 10, 1977).

When the album was recorded, the Little Feat line up comprised Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals) and Kenny Gradney (bass), who were backed by the Tower of Power horn section.

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The Super Deluxe Edition is released by Rhino on July 29. Dig! is offering an exclusive set, including the Super Deluxe Edition bundled with a 2-LP version, and a reissue of the Japanese 7” single for “Oh Atlanta” b/w “Willin’.” You can pre-order here.

The album is also available as a 2LP + 7″ single bundle, an 8CD + 7″ single bundle and a standard 2LP edition.

The tracklisting for the Super Deluxe Edition is:

CD/LP Track Listing:
CD/LP One: Original Album
1. “Join The Band”
2. “Fat Man In The Bathtub”
3. “All That You Dream”
4. “Oh Atlanta”
5. “Old Folks Boogie”
6. “Time Loves A Hero”
7. “Day Or Night”
8. “Mercenary Territory”
9. “Spanish Moon”

CD/LP Two: Original Album
1. “Dixie Chicken”
2. “Tripe Face Boogie”
3. “Rocket In My Pocket”
4. “Willin’”
5. “Don’t Bogart That Joint”
6. “A Apolitical Blues”
7. “Sailin’ Shoes”
8. “Feats Don’t Fail Me Now”

CD Three: Live at Manchester City Hall (29/7/77)
1. “Walkin’ All Night” *
2. “Skin It Back” *
3. “Fat Man In The Bathtub” *
4. “Red Streamliner” *
5. “Oh Atlanta” *
6. “Day At The Dog Races” *
7. “All That You Dream” *
8. “On Your Way Down” *
9. “Time Loves A Hero” *
10. “Day Or Night” *

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CD Four: Live at Manchester City Hall (29/7/77)
1. “Rock And Roll Doctor” *
2. “Old Folks Boogie” *
3. “Dixie Chicken” *
4. “Tripe Face Boogie” *
5. “Willin’/Don’t Bogart That Joint” *
6. “Feats Don’t Fail Me Now” *
7. “Rocket In My Pocket” *
8. “Sailin’ Shoes” *
9. “Teenage Nervous Breakdown” *

CD Five: Live at The Rainbow, London (2/8/77)
1. “Walkin’ All Night” *
2. “Fat Man In The Bathtub” *
3. “Red Streamliner” *
4. “Oh Atlanta” *
5. “Day At The Dog Races” *
6. “All That You Dream” *
7. “Mercenary Territory”
8. “On Your Way Down” *
9. “Skin It Back”
10. “Old Folks Boogie” *

CD Six: Live at The Rainbow, London (2/8/77)
1. “Rock And Roll Doctor” *
2. “Cold Cold Cold” *
3. “Dixie Chicken” *
4. “Tripe Face Boogie” *
5. “Willin’/Don’t Bogart That Joint” *
6. “Feats Don’t Fail Me Now” *
7. “Rocket In My Pocket”
8. “Spanish Moon” *
9. “A Apolitical Blues” *
10. “Teenage Nervous Breakdown” *

CD Seven: Live at Lisner Auditorium, Washington, D.C. (10/8/77)
1. “Walkin’ All Night” *
2. “Red Streamliner” *
3. “Fat Man In The Bathtub” *
4. “Day At The Dog Races” *
5. “All That You Dream” *
6. “On Your Way Down”
7. “Time Loves A Hero” *
8. “Day Or Night” *
9. “Skin It Back” *

CD Eight: Live at Lisner Auditorium, Washington, D.C. (10/8/177)
1. “Oh Atlanta” *
2. “Old Folks Boogie” *
3. “Dixie Chicken” *
4. “Tripe Face Boogie” *
5. “Feats Don’t Fail Me Now” *
6. “Rocket In My Pocket” *
7. “Sailin’ Shoes” *
8. “Teenage Nervous Breakdown” *
* Previously Unreleased

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Watch Guns N’ Roses cover AC/DC’s ‘Back In Black’ for the first time ever

Guns N’ Roses performed AC/DC’s ‘Back In Black’ for the first time ever at a concert in Spain.

  • READ MORE: Guns N’ Roses – Rank the albums

The band were performing at Estadio Benito Villamarin when they debuted their cover of the classic track earlier this week. You can view the performance below.

It was the second concert of their current European/UK tour which kicked off in Portugal last weekend.

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During that show at at the Passeio Marítimo de Algés in Oeiras they also covered AC/DC’s ‘Walk All Over You’.

During their concert in Spain the band also performed a cover of Jimmy Webb’s ‘Wichita Lineman’ alongside a host of GN’R classic tracks including ‘Welcome To The Jungle’, ‘You Could Be Mine’, ‘Sweet Child O’Mine’ and ‘Paradise City’.

Their continued nod to AC/DC’s back catalogue comes as no surprise. The band’s frontman Axl Rose fronted the Australian group for a stint after singer Brian Johnson was forced to leave the lineup in 2016 due to hearing issues. Johnson was confirmed to have rejoined AC/DC in 2018 and appeared on the band’s 2020 album ‘Power Up’.

Guns N’ Roses are scheduled to tour across Europe this summer, including UK and Ireland dates in June and July. In Autumn, they will head over to South America and Mexico, before visiting Australia and New Zealand at the end of the year. You can purchase tickets here.

Guns N’ Roses played:

‘It’s So Easy’
‘Mr. Brownstone’
‘Chinese Democracy’
‘Slither’
‘Double Talkin’ Jive’
‘Welcome To The Jungle’
‘Back In Black’
‘Absurd’
‘Rocket Queen’
‘Reckless Life’
‘Live And Let Die’
‘Estranged’
‘You Could Be Mine’
‘I Wanna Be Your Dog’
‘Hard Skool’
‘Civil War’
‘Sweet Child O’ Mine’
‘November Rain’
‘Knockin’ On Heaven’s Door’
‘Nightrain’
‘Coma’
‘Patience’
‘Witchita Lineman’
‘You’re Crazy’
‘Paradise City’

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Metric unveil ’90s inspired video for new track ‘What Feels Like Eternity’

Metric have released a new video for their track ‘What Feels Like Eternity’. Watch the clip below.

  • READ MORE: Metric live: leather-clad Canadians are still DIY and still vital at London Forum gig

The track is the latest preview of the four-piece’s forthcoming new album ‘Formentera’, which is set for release on July 8, and is the follow-up to the band’s 2018 release ‘Art Of Doubt‘. Metric previously released singles ‘All Comes Crashing‘, and ‘Doomscroller‘ from their yet-to-be released eighth studio album.

The video for the slowly building single, features the band performing, as the track speeds up and vocalist Emily Haines sings, “It feels like eternity / For what feels like eternity / And what might overpower me / Head down, don’t look up” over building guitars and distortion. At one point in the video, the band looks into the camera, which takes on a ’90s style filter, changing outfits, having coffee, and preparing for another performance.

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The album is named for an idyllic island near Ibiza off the coast of Spain, a place the band said existed in a “dream destinations” travel book that happened to be on the desk of their recording studio.

“We had been living in our imaginations for a long time, because we couldn’t physically go anywhere else,” guitarist and co-producer Jimmy Shaw said. “When you listen to the album from beginning to end, you start with this immediate feeling of tension building, of being stuck in a loop, and then there’s this intense release that happens. You’re swept off your feet into the title track ‘Formentera’ and it’s like you escaped.”

Haines continued: “We came to this realization that it wasn’t even about an actual place anymore, it was about creating an escape for yourself in your mind because you’re powerless over so many things.”

Metric will embark on a North American tour in August in support of ‘Formentera’, with UK and European dates set to be announced soon. You can find tickets to the North American tour here.

Metric will embark on a North American tour in August in support of ‘Formentera’, with UK and European dates set to be announced soon. You can find tickets to the North American tour here.

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Pearl Jam announce Johnny Marr, October Drift and more as BST Hyde Park support

Pearl Jam have announced a number of new additions to their BST Hyde Park shows next month.

  • READ MORE: From the archives – Pearl Jam rock for freedom and equality in the free world at Mad Cool 2018

The gigs on July 8 and 9 will be the band’s biggest ever London shows. Pearl Jam were originally due to headline BST Hyde Park in 2021 alongside Duran Duran but the event was cancelled as a result of the COVID pandemic.

Newly announced support acts for the shows include October Drift, Fatherson, LIFE and Daytime TV on July 8. Johnny Marr, Temples, Tiger Cub, Petrol Girls, James & The Cold Gun, PEAKS! and Connor Selby will support on July 9.

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It was previously confirmed that Pixies would support Pearl Jam on July 8, with more support acts announced for the shows in February. Cat Power, White Reaper, The Murder Capital, The Glorious Sons, Simon Townshend, La Luz, Sick Joy and Dream Nails will all play on July 8.

Meanwhile, Stereophonics join the band on July 9, with Imelda May, The Last Internationale, La Luz, JJ Wilde and The Wild Things.

Get full details below. Tickets remain on sale for Pearl Jam’’s BST Hyde Park gigs – find any remaining ones here. 

BST Hyde Park
Pearl Jam at BST Hyde Park line-up. CREDIT: Press

Last month Pearl Jam were forced to cancel the remainder of their US tour after bassist Jeff Ament tested positive for COVID.

Drummer Matt Cameron was diagnosed with the virus the week before, leaving the band to enlist stand-in drummers. The band were joined by a fan on drums at their Oakland show on May 12, while an 18-year-old friend of Eddie Vedder’s daughter stepped up to the plate at the same venue on May 14.

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Pearl Jam are due to hit the road for a European tour this month, kicking off at Pinkpop Festival in the Netherlands on June 18.

Earlier this month, Elton John announced the curated support bill for his BST Hyde Park show, featuring Rina Sawayama, BERWYN and more.

The show on June 24 comes as part of the legendary songwriter’s ‘Farewell Yellow Brick Road’ tour – his final ever series of live shows. It means that the gig could be his final ever London tour date.

Others artists due to play BST Hyde Park this summer include The Rolling Stones, Eagles, Adele and Duran Duran – find out more about this year’s series by heading here.

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Outstanding Rapper Kadalya Soundz Debuts Stunning Single Inspired By Hometown New Jersey

Rising hip-hop artist Kadalya Soundz stuns the music industry with her first ever single called “Jersey.” A powerful song that represents the artist’s background and everyday hustle, Kadalya Soundz tells her urban story through unconventional and powerful verses. 

It’s true that Kadalya Soundz only started releasing her music this year, however, the New Jersey-native has enjoyed almost a lifetime of being in the heart of the East Coast hip-hop scene. When asked about why she chose music, Kadalya said “Growing up in a hip hop environment since I was a kid, it’s basically all I know. She continues, “It’s embedded in me, it’s what I enjoy, it’s what I like, always have and always will.”

Her new single “Jersey” packs a set of strong rhymes, fast-paced beats and authentic expression from the talented Kadalya Soundz, who is set to become a prominent rapper in her region. 

For more information follow Kadalya Soundz on: InstagramYouTube

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WHO warns festivals could escalate spread of monkeypox

The World Health Organisation (WHO) has warned that festivals and big events could escalate the spread of monkeypox.

The disease has today (June 7) been designated a notifiable disease by the UK Health Security Agency, meaning doctors in England will be required to notify their local council or Health Protection Team if they suspect a patient has monkeypox. Cases in the UK rose to over 300 yesterday.

In a warning regarding the disease’s spread across Europe and the US, the WHO said large-scale events like festivals could “provide further context where amplification may occur”. The virus is spread via very close, prolonged contact, either through inhaling infected droplets or through direct contact with “infected bodily fluids, lesions or scabs on the skin, or contaminated objects, such as bedding or clothes”.

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The WHO Europe’s regional director Dr. Hans Henri Kluge said in a statement: “Rapid, amplified transmission has occurred in the context of the recent lifting of pandemic restrictions on international travel and events. The potential for further transmission in Europe and elsewhere over the summer is high. Monkeypox has already spread against the backdrop of several mass gatherings in the region.

Crowd at Download Festival
Crowd at Download Festival Pilot 2021. CREDIT: Katja Ogrin/Getty Images

“Over the coming months, many of the dozens of festivals and large parties planned provide further contexts where amplification may occur. But they also provide powerful opportunities to engage with young, sexually active and globally mobile persons to raise awareness and strengthen individual and community protection.”

Kluge added that most people who get monkeypox will have a “mild and self-limiting but unpleasant and potentially painful disease that may last up to several weeks”.

“We do not yet know what health impact there will be in individuals who can have severe outcomes from monkeypox, particularly young children, pregnant women and people who are immune-compromised,” he said.

He went on to say that, currently, an effective response to monkeypox will not require the same “extensive population measures” as were introduced to halt the spread of COVID-19 because the viruses don’t spread in the same way. However, the WHO does “not yet know if we will be able to contain its spread completely”.

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“For that, we need a significant and urgent reduction in exposures through clear communication, community-led action, case isolation during the infectious period, and effective contact tracing and monitoring,” Kluge explained.

Festival season is set to get back in full swing this summer following two years of cancelled events and restrictions. However, in February, figures from the live music industry warned of a “perfect storm” created by a live entertainment supply chain crisis, workforce shortages and the effects of Brexit is likely to impact this summer’s events.

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Editors announce new album ‘EBM’ and share new song ‘Karma Climb’

Editors have shared details of their new album ‘EBM’ and released new song ‘Karma Climb’ alongside news of a UK and European tour.

  • READ MORE: Song Stories – Editors on their long-lost single ‘Magazine’

‘EBM’ is released on 23 September via Play It Again Sam (pre-order here). The music video for ‘Karma Climb’, which follows last month’s single ‘Heart Attack‘, is out now.

The band’s seventh album is being showcased along with classics at their newly announced UK and European tour, which kicks off in Spain this month and wraps in Bristol next February.

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Editors will take in dates at London’s iconic Troxy, with further dates in Nottingham, Manchester, Glasgow, Dublin and beyond in Europe. Tickets for the tour shows go on general sale this Friday (June 10) at 10am BST here.

‘EBM’ is the first Editors album with new band member Benjamin John Power (aka Blanck Mass) who was announced as a full-time member last month.

Power (also of Fuck Buttons) previously worked with the band on their sixth album ‘Violence’, which was released in March 2018.

He said of the new album: “There is a strong physicality to this record. EBM started its life with the intention of connecting with people and filling a very physical space. There is also however an emotional physicality running throughout; an urgency and a sense of panic. An unease. Even in its more tender moments there is a yearning for connection.”

Speaking about the new single, frontman Tom Smith said: “It’s about hedonistic escapism, not only from the world generally, but also from what people think of you.”

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Editors UK and European tour dates:

JUNE 2022
17 – O Son Do Camino, Spain
24 – Mallorca Live, Spain

JULY 2022
9 – Mad Cool, Spain
14 – Electric Castle, Romania
19 – Balena Festival, Italy
30 – Low Festival, Spain

AUGUST 2022
05 – Wide Skies and Butterflies, UK
14 – Hear Hear Festival, Belgium
28 – Victorious Festival, UK

OCTOBER 2022
05 – Luxembourg, Esch-sur-Alzette, Rockhal
06 – Netherlands, RTM Stage, Rotterdam Ahoy
07 – Copenhagen Vega, Denmark
09 – Germany, Hamburg, Edel-Optics Arena
10 – Germany, Leipzig, Haus Auensee
12 – Poland, Krakow, Club Studio
13 – Germany, Berlin, Max-Schmeling-Halle
15 – France, Paris, Olympia
16 – Switzerland, Lausanne, Les Docks
17 – Austria, Vienna, Gasometer
19 – Switzerland, Zurich, Volkshaus
20 – Italy, Milan Fabrique
21 – Italy, Bologna Unipol
23 – Germany, Munich, Zenith
24 – Germany, Dusseldorf, Mitsubishi Electric Halle

JANUARY 2023
25 – Nottingham, Rock City
27 – Manchester, Academy
29 – Glasgow, Barrowland
30 – Dublin, National Stadium

FEBRUARY 2023
01 – London, Troxy
02 – Bristol, Marble Factory

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Pusha T says ‘It’s Almost Dry’ is the best rap album of the year

Pusha T has declared his album ‘It’s Almost Dry’ the best rap album of the year. Watch a clip of the rapper making the claim below.

  • READ MORE: Pusha T: “I’ve won the wars. I have withstood everything”

Push is currently on tour supporting his latest album which debuted at No. 1 on the Billboard 200 album chart. During a show at the Novo in Los Angeles, the California rapper made the bold statement.

“’It’s Almost Dry’ rap album of the motherfucking year,” he said to the crowd. “They can’t fuck with me!” Take a look here:

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In a recent Big Read, Pusha talked to NME about his confidence in ‘It’s Almost Dry’ sharing, “It’s all about creating the best product you can create. That’s just the standard. I want people to look at this street rap narration that I’m painting and understand that this is all I want to make.”

He continued: “Don’t ask me for anything else. I’m not entertaining you. I’ve been a realist. I’ve shown you everything. I’ve won the wars. I went through label dramas. I withstood everything. Now is the best time for me to be more creative and fully uplift the genre.”

In a five-star review of the album, NME said: “Pusha T has managed to elevate his art to new heights, signalling that the artist is nowhere close to being done. Despite being longer than ‘Daytona’, there is succinct preciseness to ‘It’s Almost Dry’ with Pusha’s lyricism, in particular, never left wanting.”

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FKA twigs teases new track for “baddies” called ‘Killer’

FKA twigs has shared the release date and album art for an upcoming single called ‘Killer’. Watch a clip featuring the track below.

  • READ MORE: FKA Twigs: “There are so many sides to me that the world hasn’t seen yet”

Today (June 6) twigs posted on her Instagram and Twitter accounts, telling fans that they could pre-save the yet-to-be released track.

“KILLER out June 16th pre-save now,” she wrote, adding that the track would be “for baddies with a tear in their eye.”

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The singer also shared the “beautiful artwork” for the single, which features twigs and the silhouette of the moon. Check it out below.

FKA twigs also posted a preview of the track on YouTube. In the clip which features twigs on stage, she sings “Dancing in the dark I can feel it in your heart” and “put your arms around my waist pull me nearer”. Watch it below.

The new track follows her sharing an intimate video for her track ‘Thank You Song’ last month. The clip marked the final part of the artist’s ‘CAPRIVIDS’ series, a collection of “short and punchy” visuals to accompany the tracks on her January mixtape ‘CAPRISONGS’.

The video for ‘Thank You Song’ followed on from recent Twigs clips for the tracks ‘Which Way’, ‘Honda’ and ‘Oh My Love’. Speaking of ‘Thank You Song’ Twigs wrote, “I guess in a nutshell, ‘Thank You Song’ is about riding with one’s inner demons and embracing them. Those demons can become your angel if you let it.”

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Last month, it was announced that the singer would be added to the cast of the newly rebooted The Crow alongside It star Bill Skarsgård. “I am absolutely thrilled to announce that I will be appearing alongside Bill Skardsgård in The Crow directed by Rupert Sanders,” twigs said at the time.

She added: “I feel so honoured to be amongst such a powerful team and am already having the best time working on my character lewks with the iconic [costume designers] @kurtandbart2”.

Earlier this year, twigs was crowned Godlike Genius at March’s BandLab NME Awards. The award was presented by Soul II Soul legend Jazzie B, and followed a performance of ‘Meta Angel’ from twigs.

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System Of A Down’s Serj Tankian shares Armenian protest song ‘Amber’

System Of A Down singer Serj Tankian has shared a new solo song that serves as a resistance piece to the “slick theft” he claims he’s seen in Armenia’s political elections.

  • READ MORE: System Of A Down’s new anthems of rebellion are arena-ready calls for justice

The track, which is sung entirely in the Armenian language, was written in 2017 but was completed this year. It features Armenian singer Sevak Amroyan and comes with a Hrag Yedalian-directed music video, which you can watch below.

The song’s title ‘Amber’ is pronounced “ahm-be’r” and translates to “clouds” in Armenian.

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Tankian, who is American-Armenian, said: “‘Amber’ was written in 2017 after I visited Armenia along with my friends Atom & Arsinee Egoyan and Eric Nazarian as members of the coalition ‘Justice for Armenia’ to serve as election monitors for the Parliamentary elections.

“I was so distraught by the slick theft of the elections before ever reaching the ballot box that I wrote this song as a response.”

He continued: “The lyrics however seem to be more poignant today when Armenians are divided politically and socially following the devastating attack on Nagorno-Karabagh and Armenia by Azerbaijan and Turkey in 2020 and the continuous fallout over negotiations with those two dictatorial regimes. ‘Amber’s’ message is that of unity and harmony. Those are the only truly powerful weapons of the Armenian nation.”

Tankian added of the collaboration with Amroyan: “Sevak’s voice has a unique strength harking back to our people’s native lands. I loved listening to his songs like ‘Yarkhushta’ so when we met I was excited to work on something with him.”

Amroyan, who joins Takian in the music video, said: “Naturally, I have listened to Serj Tankian’s music since childhood and always with a sense of pride. After getting acquainted with him, I realised that in addition to being an iconic musician he’s also a very proud Armenian. I am happy about our collaboration and thankful to Serj that we’re singing ‘Amber’ together. It’s a great honour for me.”

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serj tankian system of a down los angeles postponed covid-19
Serj Tankian of System Of A Down. CREDIT: Kevin Winter/Getty Images

Meanwhile, Tankian said last year that he was “happy” that he was vaccinated after testing positive for COVID.

The System Of A Down frontman’s diagnosis forced the band to postpone a pair of shows in Los Angeles, both of which were alongside Korn, Helmet and Russian Circles.

Taking to social media last October to thank fans for their outpouring of well wishes, Tankian wrote: “I am overwhelmed and extremely grateful for the outpouring of love and concern from friends and strangers alike.

“I am doing well and hoping to be clear of all symptoms soon. I believe that being vaccinated helped minimise my symptoms and suffering.”

Tankian’s last solo releases were the instrumental 2021 albums ‘Cinématique Series: Illuminate’ and ‘Cinématique Series: Violent Violins’.

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Watch Guns N’ Roses cover AC/DC and play rarities at first show of 2022

Guns N’ Roses kicked off their 2022 live schedule last night (June 4) by performing an AC/DC cover and two rarities.

The band were performing at the Passeio Marítimo de Algés in Oeiras in Portugal last night, which marked their first gig of the year after a scheduled performance at Florida’s Welcome To Rockville festival was cancelled due to storms last month.

During the Portuguese gig, Guns N’ Roses gave a rendition of their 1986 song ‘Reckless Life’, which originally appeared on their record ‘Live ?!*@ Like A Suicide’. It was the first time the band had played the track since 1993.

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Later, they added to the clutch of AC/DC songs they’ve covered at their gigs with a take on ‘Walk All Over You’, while the encore featured the ‘Appetite Of Destruction’ version of ‘You’re Crazy’. The show marked the first airing of the latter since 1991, following an acoustic version of the track featuring in the band’s setlist in the intervening years.

Watch fan-shot footage of all three tracks above now.

Guns N’ Roses played: 
‘It’s So Easy’
‘Mr. Brownstone’
‘Chinese Democracy’
‘Slither’
‘Double Talkin’ Jive’
‘Welcome To The Jungle’
‘Better’
‘Coma’
‘Reckless Life’
‘Estranged’
‘Shadow Of Your Love’
‘Walk All Over You’
‘Live And Let Die’
‘You Could Be Mine’
‘Hard Skool’
‘Absurd’
‘Civil War’
‘Sweet Child O’ Mine’
‘Rocket Queen’
‘I Wanna Be Your Dog’
‘November Rain’
‘Knockin’ On Heaven’s Door’
‘Nightrain’
‘Patience’
‘You’re Crazy’
‘Paradise City’

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GN’R’s continued nod to AC/DC’s catalogue comes as no surprise. The band’s frontman Axl Rose fronted the Australian group for a stint following singer Brian Johnson being forced to leave the lineup in 2016 due to hearing issues. Johnson was confirmed to have rejoined AC/DC in 2018 and appeared on the band’s 2020 album ‘Power Up’.

Meanwhile, Guns N’ Roses are working on new music, guitarist Slash has confirmed, following the release of two singles – ‘Absurd’ and ‘Hard Skool’ – last year. “There is new material coming — everybody’s always asking,” he said in an interview earlier this year.

“I would imagine that there will be one or two songs that come out around the time that we hit the road in June.”

Guns N’ Roses are scheduled to tour across Europe this summer, including UK and Ireland dates in June and July. In Autumn, they will head over to South America and Mexico, before visiting Australia and New Zealand at the end of the year.

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Lorde says she’s “getting nearer” to writing nothing but big pop songs

Lorde has thanked fans for the support of third album ‘Solar Power’ and said she’s “getting nearer” to writing nothing but “bangers” again.

  • READ MORE: Lorde: “I feel like I can see my world and myself a lot clearer now”

Lorde’s third album saw the artist move away from the all out euphoria of 2017’s ‘Melodrama’ to create something more introspective and delicate.

Speaking at the third and final night of her residency at London’s Roundhouse (June 3), Lorde revealed she’d been “thinking about bangers.”

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“It’s so interesting to me how writing a big, bright pop song has been the thing that’s defined my life. This thing I started trying to do when I was 14-years-old because I would turn on the radio and love that feeling, what it did to me. It became like an addiction, I just wanted to keep trying to construct the perfect thing that would hit you in the heart emotionally, over three-and-a-half minutes,” she explained.

“But I never thought a pop song would be the thing that changed my life. I was informed today that it’s the nine-year anniversary of ‘Royals’ coming out. I remember sitting in my parent’s kitchen, pressing upload on Soundcloud. I was in my school uniform.”

“And nine years ago, you started to change my life,” she told the audience. “And you told me I wasn’t crazy for being obsessed with pre-chorus melodies and hooks. That actually, it was a worthwhile endeavour for me”

“Over the years, I’ve been lucky enough to share in those moments with you because, in my opinion, a banger is not created until the audience participates. You can write a good pop song but you are the ones that turn it into that thing that we all know to be a banger.”

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She went on to say that while those big pop songs are “the guiding force in my life, the north star to which I move towards, it’s not always the season. You don’t always have the banger in you.”

“We’ve had a really difficult, painful, lonely few years and artists take that, and they process it and they make something that’s maybe quieter, or more private,” continued Lorde, referring to her ‘Solar Power’ album.

“But the banger will always be on the horizon,” she promised. “I want to say thank you for being so welcoming and wonderful on this tour. I’m getting nearer to that zone again, where all I’m going to write is those sort of songs for us all to dance to, and to feel in our hearts. Thanks for changing my life.”

She then performed a cover of Carly Rae Jepsen‘s ‘Run Away With You’.

In other news, Lorde has praised Kendrick Lamar‘s new album ‘Mr. Morale & The Big Steppers’, particularly noting the record’s emotional maturity and attempt to process difficult subjects through creative expression.

 

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Watch Red Hot Chili Peppers kick off their world stadium tour in Spain

Red Hot Chili Peppers kicked off their world stadium tour last night (June 4) at the Estadio La Cartuja in Seville – check out footage and the setlist below.

  • READ MORE: The NME Big Read – Red Hot Chili Peppers: “We feel fresh, like a new band”

The tour is in support of new album ‘Unlimited Love’, the band’s first new record since 2016’s The Getaway’ and the first to feature long-serving guitarist John Frusciante in over a decade.

Five new tracks from ‘Unlimited Love’ were played during the 18-song set – ‘Aquatic Mouth Dance’, ‘Here Ever After’, ‘These Are The Ways’, ‘Whatchu Thinkin’’ and lead single ‘Black Summer’. The band started the show with 2003 smash ‘Can’t Stop’ and played plenty of hits throughout the night, including ‘Scar Tissue’, ‘Californication’ and ‘Give It Away’.

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The show finished with a two-song encore featuring 1992’s ‘Under The Bridge’ and 2002’s ‘By The Way’

Check out footage and the complete setlist below.

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Red Hot Chili Peppers played:

‘Can’t Stop’
‘Black Summer’
‘Charlie’
‘Scar Tissue’
‘Aquatic Mouth Dance’
‘Snow’
‘Nobody Weird Like Me’
‘Whatchu Thinkin’’
‘Hey’
‘Tell Me Baby’
‘Here Ever After’
‘Californication’
‘These Are The Ways’
‘Soul To Squeeze’
‘Give It Away’
‘Under The Bridge’
‘By The Way’

‘Unlimited Love’ was released in April and quickly became the best-selling rock album of 2022 so far, racking up more than 145million streams and 97,500 album sales in the first two weeks of its release.

Red Hot Chili Peppers have also said that they have a “loose plan” to release another new album

“We’re gonna put out music by the handful – literally,” Kiedis told NME. “Don’t be surprised if another wheelbarrow of songs comes your way in the near future. We have a lot of shit to turn people onto.”

Frusciante added that there is a “loose plan” for a follow-up album to ‘Unlimited Love’, and that the band “recorded almost 50 pieces of music” during sessions with producer Rick Rubin.

Red Hot Chili Peppers’ world stadium tour runs until October. Check out dates below.

JUNE 2022
4 – Seville, Estadio La Cartuja De Sevilla=
7 – Barcelona, Estadi Olimpic=
10 – Nijmegen, Goffertpark=
15 – Budapest, Puskas Stadium=
18 – Firenze, Italy – Firenze Rocks
22 – Manchester, Emirates Old Trafford=
25 – London, London Stadium~
29 – Dublin, Marlay Park~

JULY 2022
1 – Glasgow, Bellahouston Park~
3 – Leuven, Rock Werchter
5 – Cologne, RheinEnergieStadium=
8 – Paris, Stade de France~
12 – Hamburg, Volksparkstadion=
23 – Denver, Empower Field at Mile High*
27 – San Diego, Petco Park*
29 – Santa Clara, Levi’s Stadium+
31 – Los Angeles, SoFi Stadium+

AUGUST 2022
3 – Seattle, T-Mobile Park^
6 – Las Vegas, Allegiant Stadium^^
10 – Atlanta, Truist Park^
12 – Nashville, Nissan Stadium^
14 – Detroit, Comerica Park^
17 – East Rutherford, Metlife Stadium^
19 – Chicago, Soldier Field^
21 – Toronto, Rogers Centre^
30 – Miami, Hard Rock Stadium^

SEPTEMBER 2022
1 – Charlotte, Bank of America Stadium^
3 – Philadelphia, Citizens Bank Park^
8 – Washington, Nationals Park^
10 – Boston, Fenway Park#
15 – Orlando, Camping World Stadium^
18 – Arlington, Globe Life Field^

=with special guests A$AP Rocky and Thundercat
~with special guests Anderson .Paak & The Free Nationals and Thundercat
*with special guests HAIM and Thundercat
+with special guests Beck and Thundercat
^with special guests The Strokes and Thundercat
^^with special guests The Strokes and King Princess
# with special guests St. Vincent and Thundercat

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Watch Florence + The Machine cover John Lennon’s ‘Jealous Guy’

Florence + The Machine has covered John Lennon‘s ‘Jealous Guy’ in the studio – check out the performance below.

  • READ MORE: Florence + The Machine – ‘Dance Fever’ review: the triumphant sound of a singer reborn

Florence Welch and co. performed the cover while appearing on SiriusXM, performing a number of tracks from new album ‘Dance Fever’ as well as the version of Lennon’s famous track, first released on 1971 album ‘Imagine’.

‘Dance Fever’ was released last month and beat Kendrick Lamar‘s Mr Morale & The Big Steppers’ to top spot in the UK charts, marking the band’s fourth UK Number One album following 2009 debut ‘Lungs’, follow up ‘Ceremonials’ and 2015’s ‘How Big, How Blue, How Beautiful’.

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Check out Florence + The Machine’s acoustic cover of John Lennon’s ‘Jealous Guy’ for SiriusXM below.

In a four-star review, NME said that ‘Dance Fever’ boasts “gorgeously expressive songs”, adding: “This 14-track collection reflects a new sense of resolve, packing an invigorated spirit into powerful, sneakily thrilling pop.”

Florence + The Machine will showcase the album on a UK and Ireland headline tour in November. You can see the band’s upcoming dates below and buy any remaining tickets here.

It’ll follow an expansive tour throughout North America, where the band will play shows with Arlo Parks, Sam Fender, King Princess, Yves Tumor, Japanese Breakfast and Wet Leg on select dates – tickets are available here for those shows.

See the full list of dates below.

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SEPTEMBER 2022
2 – Montreal, QC – Place Bell
3 – Toronto, ON – Budweiser Stage
7 – Chicago, IL – Huntington Bank Pavilion at Northerly Island
8 – St. Paul, MN – Xcel Energy Center
10 – Clarkson, MI – Pine Knob Music Theatre
12 – Washington, DC – Capital One Arena
14 – Boston, MA – TD Garden
16 – New York, NY – Madison Square Garden
20 – Ascend Amphitheater – Nashville, TN
21 – Alpharetta, GA – Ameris Bank Amphitheater
23 – Orlando, FL – Amway Center
24 – Miami, FL – FTX Arena
27 – Austin, TX – Moody Center
28 – Irving, TX – The Pavilion at Toyota Music Factory

OCTOBER 2022
1 – Denver, CO – Ball Arena
4 – Vancouver, BC – Rogers Arena
6 – Seattle, WA – Climate Pledge Arena
7 – Portland, OR – Theater of the Clouds
9 – Mountain View, CA – Shoreline Amphitheatre
12 – Cal Coast Credit Union Open Air Theatre – San Diego, CA
14 – Los Angeles, CA Hollywood Bowl

NOVEMBER 2022
14 – Accor Arena, Paris
16 – Motorpoint Arena, Cardiff
18 – The O2, London
19 – The O2, London
21 – BIC, Bournemouth
22 – AO Arena, Manchester
24 – Utilita Arena, Birmingham
25 – First Direct Arena, Leeds
27 – OVO Hydro, Glasgow
28 – Motorpoint Arena, Nottingham
30 – Arena, Dublin

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Watch Lorde cover Carly Rae Jepsen at London gig

Lorde covered Carly Rae Jepsen at her third and final intimate London gig last night (June 3) – scroll down the page to watch footage of the moment.

The New Zealand pop star held three shows at The Roundhouse in Camden this week, kicking off on June 1.

  • READ MORE: Lorde: “I feel like I can see my world and myself a lot clearer now”

At the final gig last night, Lorde shared a cover of Carly Rae Jepsen’s ‘Run Away With Me’ in the middle of the set. The singer began the track while sitting on a revolving ladder that forms a central part of her current tour’s production.

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The show also saw Lorde air ‘A World Alone’, which featured on her debut album ‘Pure Heroine’, for the first time since 2017. Watch footage of both songs below now.

The star’s tour will current with dates in Ireland and Europe, before returning to the UK at the end of the month for a performance at Glastonbury and a headline date at London’s Alexandra Palace.

Reviewing Lorde’s tour at a show in Minneapolis in April, NME dubbed it “instantly iconic”. “From the second the black curtain shrouding her artful stage production drops, it feels like we’ve been whisked off to another planet,” the five-star review added.

“It’s fitting that the set begins with ‘Leader Of A New Regime’, a song that imagines life in the future when we’ve destroyed the earth and had to flee to a distant sanctuary – the effervescent, colour-changing sun that lights the whole show and the rotating ladder that sometimes leads up to it feel both alien and warm; a fresh but safe bolthole to escape the turmoil of the world outside.”

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Meanwhile, last month saw the star launch her own Sonos Radio station called SOLARSYSTYM. It sees the singer looking back throughout her life and career, from her youth to now, charting the pivotal moments and artists that impacted her along the way.

“SOLARSYSTYM is like stepping into my brain, giving listeners a front-row seat to the songs that have meant a ton to me and my life,” Lorde said in a statement announcing the station. “Everything from the tunes my parents pulled from their super sick CD tower to the songs I ripped off YouTube as a pimply teen to the records I include in full because they were that shapeshifting for me as a thinker and feeler.”

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Watch John Squire join Liam Gallagher onstage at Knebworth

Liam Gallagher was joined by The Stone Roses’ John Squire at the first of two nights at Knebworth yesterday (June 3).

The former Oasis frontman is returning to the venue where the Manchester band played their iconic gigs in 1996 to celebrate the release of his third solo album ‘C’mon You Know’.

  • READ MORE: Liam Gallagher: “I sound good. I look cool. I talk from the heart”

Squire – who also appeared at Oasis’ Knebworth gigs 26 years ago – joined Gallagher on stage for the closing song of the set, ‘Champagne Supernova’.

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“A big fucking round of applause for the coolest man on the planet,” Gallagher told the crowd as he introduced him. “The one and only John fucking Squire.” Watch fan-shot footage of ‘Champagne Supernova’ from Knebworth below.

As in Manchester earlier this week, Gallagher opened the show with three Oasis songs in ‘Hello’, ‘Rock’n’Roll Star’ and ‘Morning Glory’, before launching into tracks from his solo albums. He gave another airing to ‘Standing On The Shoulders Of Giants’ song ‘Roll It Over’ after giving it its live debut at the Etihad Stadium on Wednesday (June 1). See the full setlist below.

Liam Gallagher played:

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‘Hello’
‘Rock’n’Roll Star’
‘Morning Glory’
‘Wall Of Glass’
‘Shockwave’
‘Everything’s Electric’
‘Better Days’
‘Why Me? Why Not’
‘Stand By Me’
‘Roll It Over’
‘Slide Away’
‘More Power’
‘C’mon You Know’
‘Diamond In The Dark’
‘The River’
‘Once’
‘Some Might Say’
‘Cigarettes & Alcohol’
‘Supersonic’
‘Wonderwall’
‘Live Forever’
‘Champagne Supernova’

The star was supported by Kasabian, Paolo Nutini, Amyl & The Sniffers and Pastel at the first night of Knebworth 2022. He will be joined by Kasabian, Michael Kiwanuka, Fat White Family and Goat Girl for the second night tonight (June 4). You can find the set times for the show here.

Meanwhile, Gallagher recently reflected on his “obsession” with the Stone Roses in an interview with NME. In the latest in the Firsts video series, the musician looked back on his first gig, where he saw Stone Roses at former Manchester music venue International 2. “It blew my mind and that’s when I wanted to join a band,” he said.

He also explained that the Roses were the first band he fell in love with. “Our kid was into The Smiths but they were a little bit too early for me and a little bit too student-y,” he said. “But the Roses were a bit more laddy – not as laddy as us, but it felt a bit more right.”

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Bop Shop: Songs From Maggie Rogers, Muna, Armani White, And More

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn't discriminate by genre and can include anything — it's a snapshot of what's on our minds and what sounds good. We'll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Maggie Rogers: "Want Want"
    https://www.youtube.com/watch?v=SylF32J2g8k

    There's something awesome about a weighty low end on a Maggie Rogers song. Though her 2019 debut, Heard It in a Past Life, trafficked in lighter-than-air empowerment odes, she's spent this year releasing slightly grittier-sounding music. "Want Want" follows "That's Where I Am" in the more digitized realm and adds a hefty synthetic bass to perfectly complement her floating vocal lines on the chorus. The result is an irresistible balance of sweet and sour that you will want and want again. —Patrick Hosken

  • Muna: "Sometimes (Britney Spears cover)"

    As if Joel Kim Booster and Andrew Ahn’s smash hit Hulu rom-com Fire Island couldn't be more epic, Muna steps in on the soundtrack to give us and Britney Spears stans something perfect for our playlists. The 2022 cover of Britney’s 1999 hit “Sometimes” gives us a fierce update while maintaining the energy and vibe of the original — a track for dancing with your special someone or chosen family under the disco ball. I won’t give away any spoilers, but to get the full context, vibe, and reason why I was bawling my eyes out when this song came on in the film, you need to see it for yourself. —Zach O’Connor

  • Jessica Boudreaux, Adult Mom: "Cruel Summer (Taylor Swift Cover)"
    https://www.youtube.com/watch?v=EFi34B8BpKI

    Considering Taylor Swift has released four albums since 2019’s Lover, it might be easy to overlook track No. 2, “Cruel Summer” – a St. Vincent co-write that remains one of her discography’s crown jewels even though she’s never performed it live. Thankfully, Summer Cannibals’s Jessica Boudreaux and Adult Mom have given us a reason to keep it on repeat during the warm and sticky months with an indie-pop cover released just in time for Pride Month. Trading in the original’s synthy screams for something a bit more understated, the track’s underlying themes of summertime pining and manic confessions remain. With a thumping bass line and a bouncing tambourine, the catharsis is just as triumphant as the two duet on its god-tier bridge: “And I scream, ‘For whatever it’s worth / I love you, ain’t that the worst thing / You ever heard?’” —Carson Mlnarik

  • Armani White: "Billie Eilish"
    https://youtu.be/4vYOwhll1fs

    After garnering over 5 million streams in less than two weeks, West Philadelphia rapper Armani White has released the music video for “Billie Eilish.” Despite being out for only a few weeks, the song is already making quite an impression. As the first single to be released from his forthcoming project, the track samples N.O.R.E. and The Neptunes's classic 2002 single "Nothin’," combined into a minute and thirty-nine-second vibe fest. "A few months ago, we were praying for listeners," White wrote on Instagram. "My New Year's resolution was to make this the double comma year, #LegendBound. Y'all done changed my life in 13 days." —Sunni Anderson

  • Rei Brown ft. Joji: "Thinking Bout You"
    https://www.youtube.com/watch?v=JForF7Lulg0

    Good to know the Joji-feature extended universe now boasts both "Thinking Bout You" and 2018's "Think About You." Where the latter, a Ryan Hemsworth tune, relies on almost underwater minimalism to build mood, his latest, a collab with Rei Brown, is more akin to a ballad as heard from space — hence the stratospheric visualizer. The result is an aching, memorably bleary excursion into an overwhelming feeling of yearning. —Patrick Hosken

  • Pinkshift: "Nothing (In My Head)"
    https://www.youtube.com/watch?v=SR_2JjVzFYM

    Drawing influences from ‘90s grunge and 2000s pop-punk, Pinkshift’s “Nothing (In My Head)” perfectly crystallizes the current moment. Vocalist Ashrita Kumar is a badass force of nature. Their commanding vocals articulate the mental exhaustion that so many of us are feeling right now while bandmates Paul Vallejo and Myron Houngbedji attack the track with equally boundless energy on guitar and drums, respectively. The song is “a cry for help,” the Baltimore-based trio said in a statement. “It’s about the feeling of wanting out, wanting a change in scenery, wanting to escape from feeling locked inside, claustrophobic, and overwhelmed. This song is like a hand reaching out to anyone willing to grasp onto it and say they feel the same way.” —Farah Zermane

  • Phoenix: "Alpha Zulu"
    https://www.youtube.com/watch?v=KKX_KUXcyiM

    Perhaps the most exciting thing about a new song from Phoenix (!) — apart from it being a new song from Phoenix (!!) – is that it sounds just like a new song from Phoenix, but the kind of new song from Phoenix you'd hope to hear in 2022. Not an ounce of fat, sparkly, yet low-key menacing in its minor-key excitement, "Alpha Zulu" is here and gone like a sunshower. An oblique lyrical callback to "1901" is the rainbow at the end of the storm. —Patrick Hosken

  • Dounia: "Gloom"
    https://www.youtube.com/watch?v=hKsjLJ_v62I

    Dounia’s music is a spiritual experience, a sonic dreamscape with the power to heal. On “Gloom,” the Moroccan-American artist displays a quiet confidence as she contemplates a melancholy mood. “I’m glammed up in my gloom,” she croons, and “I’m still tryna feel a 10 even when I’m inconsistent with my wins.” It’s my new go-to when I need to pull myself out of a rut and feel fabulous. —Farah Zermane

  • John Duff, Eric Kupper: "Is It a Sin (Eric Kupper Remix)"
    https://www.youtube.com/watch?v=-2o0BHUQBsE

    Happy Pride Month! John Duff, in collaboration with Eric Kupper, is taking us to church as he delivers a soulful house rendition of Duff’s “Is It a Sin” off his 2021 EP Homo.Sapien. As he testifies in a spiritual black-and-white music video, giving us soulful pop, he preaches that we should all be free to love. Is it a sin? Then he’s sinning ‘til the end. “I wrote ‘Is It a Sin’ as an acknowledgement of my faith in Jesus, but also as a (rhetorical) question to the church that claims to worship his inherent propensity for understanding, forgiveness, and love,” Duff writes on Instagram. “Thank you, Jesus – for saving me. But, Miss Church girl, I have to ask; ‘If all’s forgiven, than why am I imprisoned?’” Can I get an amen?! —Zach O’Connor

  • Cann: "Taste So Good” (The Cann Song)"
    https://www.youtube.com/watch?v=ViNALW35WkE

    Hi gay! Yes, this is technically a sponsored video, but it’s camp enough to be a full Pride Month bop. (Plus, we’re not getting any ad money from it.) Written by Leland and featuring vocals by Hayley Kiyoko, Vincint, MNEK, and Kesha, this song actually has me nodding in gay appreciation — mainy because the music video features queer faves Gus Kenworthy, Kornbread, Willow Pill, Kerri Colby, Patricia Arquette, Jorgeous, Sarah Michelle Gellar, and more. The collab aims to, as Weedmaps puts it in the description, “not only say ‘gay,’ but scream it from the rooftops.” Mission accomplished. —Zach O’Connor

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S.G. Goodman’s Rustic Hymnals Double As Calls To Action

By Mia Hughes

“You never can say whether or not your music is timely, but I think sometimes, music needs to be a catalyst for people’s awareness,” says Kentucky songwriter S.G. Goodman. She’s telling MTV News about “Work Until I Die,” a cut from her newest album, Teeth Marks. Trapped in the rhythm, you’ll work until you die,” she sings with her unmistakable drawl. The track, which she developed with long-time collaborator Matt Rowan, has country roots with a punk bite, like Fugazi doing Woody Guthrie. Goodman was inspired by the union songwriting of Florence Reece’s 1930s anthem “Which Side Are You On?,” yet it’s delivered with the singalong sensibilities of Dolly Parton’s “9 to 5.” All said, it’s a classic Southern protest song, delivered at a moment when it’s sorely needed.

“I graduated with a philosophy degree, and as you could imagine, the job market in Western Kentucky for philosophers was not something you could really find that much on Indeed,” says Goodman, who was raised and still resides in the state. “So I worked a lot of manual-labor jobs, a lot of restaurant jobs, and even though there’s a lot of honor in that type of work, it’s not really respected in our society. I’m a granddaughter of a union man, and Kentucky has a long history with standing up for workers’ rights.”

The album, Goodman’s second, is a treasure trove of rustic rock songwriting, which spans political calls to action and intimate heartbreak ballads. Key to the record is its Southern sonic identity, which stems from Goodman’s genuine love for her home.

https://www.youtube.com/watch?v=KE46naR5WKA

“I’m a farmer’s daughter. My childhood was in Hickman, a small town of less than 3,000 people. No fast food, no Walmart or anything like that. I just spent a lot of time outside and working on the farm and being a kid,” she recounts. “As I’ve gotten older and been to a lot of places and met a lot of people, I have come to realize that being raised in a rural community isn’t an experience that a lot of people have. I’m proud of where I come from and appreciative of how it shaped me, and I think I have an insider look into a worldview that people don’t understand.”

Goodman grew up Southern Baptist, attending church three times a week. Her first exposure to music was the hymns she heard there, and as she explains, it’s key to her songwriting and her powerful voice to this day. “Because I don’t have any classical training when it comes to music, I associate different parts of music with people that I was raised around in my congregation. It shaped how I sing, and my sense of melody, and what style of melody evokes emotion [for me]. So much of modern music, when you break it down, formed from the way old hymnists wrote their melodies, and I can’t deny that that is present in my own work.”

Meanwhile, she was introduced to classic rock by her dad and older cousins, and was also inspired by singer-songwriters she heard on the radio like Sheryl Crow and Natalie Imbruglia. As she got older, friends at high school showed her alternative rock and punk bands like Against Me!, Fugazi, and The Clash. Around this time, she was beginning to realize she was gay, which clashed with the tenets of her conservative religious upbringing. She pursued a philosophy degree hoping it might lead her to some answers.

https://www.youtube.com/watch?v=s8TrrphBRNU

“I was really interested in the concept of free will,” she explains. “That was a burning question of mine, especially when I came to terms with my sexuality. Because the concept of free will and predestination and these types of things, if I overlaid them on the doctrine that I was raised on, it was kind of an interesting concept to believe that I was created to go to hell.”

In her college town of Murray, Kentucky, Goodman began frequenting Terrapin Station, a record store and DIY venue in a strip mall. There, she started to develop her own craft as a performer and feel more at home in her identity. “It was a little subculture in a rural area. Because it was such a small community, it really wasn’t a thing where you could necessarily be genre-specific on a bill. It was a great meeting place for people from all different walks of life and different backgrounds and identities.”

We hear the impact of this musical diversity on Teeth Marks, in the sweet harmonies of the title track, the rollicking garage rock of “All My Love Is Coming Back to Me,” and the ’70s-esque heartland rock of “The Heart of It.” As well as capitalism and worker’s rights on “Work Until I Die,” she poignantly explores the opioid crisis on “If You Were Someone I Loved,” followed by the sparse and hymnal “You Were Someone I Loved.” Trauma and its lingering effects are examined on “Dead Soldiers” and “Keeper of the Time,” and intercutting all of this are raw, affecting breakup songs, such as “Heart Swell” and “Patron Saint of the Dollar Store.”

Meredith Truax

What ties the project together is the motif of love — whether it’s the lost romance of a faltering relationship, or the need for compassion in our politics and social conflicts. “I think it’s funny how people continue to create songs around [love],” Goodman says with a laugh. “I mean, it’s kinda ridiculous to write a song about love knowing how many songs are out there. But even though we’re experiencing the same themes, we’re experiencing them in different ways. I think what I found to be so evident to me after writing Teeth Marks was how [from] either the presence or the lack of love, we’re walking around with the marks of that on us. The way we act with others is from a place of how well we’ve been loved or how we haven’t been.”

For her part, over the course of writing this album, Goodman has been navigating the complexities of being an out queer artist from a conservative background. In a recent interview with The Bitter Southerner, she says that since the release of her debut album two years ago, she’s received social media messages from members of her community who have a problem with her sexuality. She’s been trying to approach this with love, too. “It’s not that I’m giving people a get-out-of-jail-free card. But because I am aware of the context they are raised in and their limited worldview, because I have had my own dealings with coming to terms with my own limited worldview, I have to apply a lot of grace there,” she says. “It would be absolutely hypocritical of me not to. And it’s not really a very trendy thing to do right now. The trendy thing to do would just be to cancel people and cut people out. But for me, I don’t think that is a very loving way to go about understanding other people.”

It’s this outlook that’s at the core of Goodman’s music. Teeth Marks is an album that digs in deep in search of better understanding and love. It’s a catalyst; or, at the very least, a vital reminder.

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Wilco Cruel Country

After the amiable twang of their 1995 debut A.M. and the more ambitiously conceptual rock’n’roll of 1996’s Being There, Wilco went straight-up pop on 1998’s Summerteeth, trading the pedal steel for an orchestra and treating The Beach Boys as their new Gram Parsons. Country, even alt.country, was far too restrictive, too conservative both musically and culturally, for many bands identified with that movement, and some of the biggest acts – The Old 97s, Joe Henry, The Jayhawks – were toying with power pop and art rock. Few, however, went as far or as hard as Wilco, who by the 2000s were embracing noise and krautrock to capture something essential about America at the turn of the century.

  • ORDER NOW: Queen are on the cover of the latest issue of Uncut

It’s probably a coincidence that the upcoming 20th anniversary of Wilco’s 2001 breakout album Yankee Hotel Foxtrot is preceded by a new studio album that gets back to their country roots. While it’s still a far cry from anything coming out of Nashville at the moment, Cruel Country is self-consciously grounded in classic country music and old-time folk – two styles that influenced Jeff Tweedy’s earliest music 30 years ago, first with Uncle Tupelo and then with Wilco. Yet it’s not that far removed from their recent Ode To Joy, partly because their idea of country is expansive. Emphasising acoustic instruments and relatively austere arrangements, it encompasses the CSNY harmonies on “A Lifetime To Find”, the two-step rhythms underpinning “Falling Apart (Right Now)”, the string-band plucks of “Sad Kind Of Way”, and even the bucolic psychedelia of the eight-minute epic “Many Worlds”.

Fittingly, the members of Wilco gravitated toward the country setting organically. Cruel Country arose from informal jams at The Loft in Chicago, with the musicians picking up instruments they’d been neglecting recently: acoustic guitars, pedal steel, dobro. There are still electric guitars, but they’re played more in the style of The Buckaroos than Can or Nilsson. Because they found themselves obsessed with this particular palette, they put aside the more “traditional” Wilco album they’d been making and devoted themselves to pursuing this very particular sound. And because Tweedy was incredibly prolific during the pandemic, they found themselves with enough songs for a double album.

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Cruel Country sounds like a band playing first and foremost for and to themselves, which means there’s a zippy energy to these songs, even the slower, sparser ones like “The Universe” and “Tonight’s The Day”. It’s invigorating to hear these musicians question how their instruments fit within the songs and rethink how Wilco does what Wilco does. “The Empty Condor” creeps along on Mikael Jorgenson’s muted piano rhythm, which adds a sense of menace and movement to the verses. The song is all push-and-pull: the lightness of Nels Cline’s guitar solo is undone by Tweedy holding his notes just a bit longer than his voice can go. That friction is all the more unsettling for being so understated.

No-one in the band seems to be questioning their role quite as much as Tweedy himself, whose vocals sound nuanced and expressive – acutely alive to the subtleties of emotion his lyrics convey. That’s clearest on the time-stopping “Ambulance”, a harrowing tale of a near-death experience. Its fractured imagery sits uneasily in this country setting: “Once just by chance, I made a friend in an ambulance”, he sings over a gently picked bluegrass guitar line. “I was half man, half broken glass”. He sounds like someone who just got back from a brief stopover in the afterlife, and the placidity of the music evokes the painful fragility of life.

Of course, “country” on Cruel Country refers not just to a musical setting, but to a larger idea prickly with political and cultural implications. Wilco explore that duality most explicitly on the title track, which makes even the dissent of Ode To Joy sound tentative. This song is angrier, animated by a relatable outrage at a particularly American divide: “I love my country, stupid and cruel, red white and blue”, Tweedy exclaims. It’s about performative righteousness, but Wilco complicate it by implicating themselves in the prevailing discord. When Tweedy sings, “All you have to do is sing in the choir”, it’s easy to imagine a red-state strawman, at least until he adds, “… with me” to the end of that declaration.

Cruel Country is so thoroughly a Wilco album that even diehard fans might wonder if that twang wasn’t there all along. In addition to redeeming A.M., which no longer sounds like the band’s least essential album, these 21 songs direct listeners to some relatively dark corners in Tweedy’s songwriting career, such as the dreamy old-time songs on Uncle Tupelo’s March 16–20, 1992 (specifically “I Wish My Baby Was Born”) and his folksier contributions to the supergroup Golden Smog (“Please Tell My Brother”, notably). Moreover, these songs suggest that country music – “a kind of comfort food”, Tweedy says – has always informed Wilco’s music, even when the band actively resisted that label. It’s there underpinning the noise on Yankee Hotel Foxtrot, the migraine jams of A Ghost Is Born, even the self-referential in-jokes on Wilco (The Album). Cruel Country is the rare album that throws everything that came before it into sharp relief – a small miracle for a band 30 years into its run.

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Pistol

In Steve Jones’s splenetic autobiography, Lonely Boy, the Sex Pistols’ guitarist does his best to puncture the fables which have grown up around the group. He admits to being hazy about the facts – relying on a radio interview he did with manager Malcolm McLaren in 2005 for the chronology of how the band evolved. Jones’ tenure as the frontman of Kutie Jones And His Sex Pistols ended when McLaren was urged by Vivienne Westwood to look out for a good-looking boy called John. John Lydon is hired, though it transpires that the John that Westwood had in mind was John Ritchie, the future Sid Vicious. And the rest is history, or at least myth.

  • ORDER NOW: Queen are on the cover of the latest issue of Uncut

Pistol is loosely based on Lonely Boy, but it has an uncertain tone, fluctuating between cartoonish awe and the predictable dynamics of a rock’n’roll exploitation film. Pistol’s creator, Baz Luhrmann collaborator Craig Pearce, and writer Frank Cottrell-Boyce, flatten Jones’s plainspokenness to the point of self-parody. “I screw a lot of birds and I act tough,” Jones (Toby Wallace) says, explaining his inadequacy as a frontman. “But when I’m up there I’ve got nowhere… nowhere left to hide.”

Jones is presented as an amphetamine-fueled herbert whose early flirtations with the music business involve stealing equipment from the Hammersmith Odeon. Wallace doesn’t quite convince as Jones – his streetwise charms have a whiff of Jamie Oliver. Glen Matlock (Christian Lees) is introduced as “a jumped up little ponce who likes The Beatles” and never really recovers. Paul Cook (Jacob Slater) is Jones’s straight man and little else. Ironically, as Lydon has been vociferous in his disapproval of the TV series, Anson Boon’s mincing Rotten is one of the more convincing impersonations, perhaps because the real-life Rotten seems to exist within the realms of performance, and Boon can anchor the character in his sneers and verbal tics. Chrissie Hynde (Sydney Chandler) floats around McLaren/Westwood’s shop Sex, resisting Jones’ advances, being endearing and quite unlike Chrissie Hynde. Jordan (Maisie Williams) gets to set up a joke by wearing a see-through top on a suburban train. “Being seen is a political act,” she says, explaining that she has embarked on a vulva-powered revolution. “Why take the train if you’ve got a Volvo?” Jones replies.

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Visually, it’s lovely. Director Danny Boyle brings his customary panache. The dilapidation of 1970s London is framed with fusty news clips which highlight the dull conformity the Pistols’ were trying to smash. There are some low-key eureka moments, such as the hamster cameo which gives Sid Vicious his name. The use of music – non-punk – is fantastic. Jordan’s defiance is soundtracked by Lesley Gore’s “You Don’t Own Me”, The Kinks add colour to a journey through Soho, and the growing confidence of Rotten as a singer is hailed with a blast of the Bay City Rollers’ “Shang-A-Lang”. Scam or revolutionary act? In McLaren’s telling, the Sex Pistols were both. Pistol opts for a bit of a Carry On.

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The Strokes cancel headline slot at Primavera Sound Festival due to COVID-19 infection

The Strokes have announced they will be cancelling their headline set at Primavera Sound Festival due to a COVID-19 infection within their camp.

The band were due to close the Friday night of the festival (June 3) but Caribou will now be taking The Strokes’ place, with Mogwai filling the gap left by Caribou.

Taking to Twitter, Primavera wrote: “We have tried everything. We wanted The Strokes to be at Primavera Sound Barcelona this weekend but you can’t always get what you want.”

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“Since we heard about the cancellation of the band’s concert in Boston on May 28, we have been in contact with the band to see how the festival could help make their concert happen. In fact, the band is already in Barcelona, with the exception of one of its members, who can’t travel due to health reasons”

A statement shared by the band said: “Due to an ongoing positive COVID-19 case in The Strokes, their Primavera Sound concert tomorrow night has been cancelled. The band will return to the stage beginning next week in Stockholm and will perform on the second weekend of Primavera.”

The festival has “done everything in our power to find a replacement” but apparently there aren’t any acts who are touring, who don’t have exclusive shows at other festivals or in other cities.

“We know that Primavera Sound expects the unexpected but this post-pandemic context has ruined plan A, B and even C on several occasions,” said organisers.

Day ticket holders for tomorrow’s event can also attend the show on June 10 (when The Strokes will play) for free.

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The Strokes were forced to cancel two shows earlier this week due to a positive COVID-19 test, with Nine Inch Nails filling in for them as headliners of Boston Calling.

The Trent Reznor-fronted band had already headlined the Friday night of the festival, filling in for the Foo Fighters, who cancelled all their live shows following the death of drummer Taylor Hawkins.

“I was sitting backstage, and I was started to freak myself out,” Reznor told the crowd during the first night. “We’re not even supposed to be here tonight, and I don’t know if you’ve heard but we’re here tomorrow night.”

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Post Malone says he struggles “to make something natural” on TikTok

Post Malone has discussed his relationship with TikTok, saying he struggles “to make something natural” on the social media platform.

Conversations around the demands on artists from record labels to use the platform have been in the headlines in recent weeks after Halsey shared a number of posts claiming that their label were holding a new song hostage until they could “fake” a viral TikTok.

  • READ MORE: Labels pushing artists to make TikToks: you’re spoiling the fun (and that’s not even the worst of it)

Taking to their TikTok page, the singer – who released latest album ‘If I Can’t Have Love, I Want Power’ last year – said in a post titled “I’m tired” that there is new music she wants to release “ASAP,” but that “marketing” is getting in the way and the label won’t let her share the new song.

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The song, ‘So Good’, has now got a release date of June 9, with her label Capitol Records telling Halsey publicly: “We love you and are here to support you. We are an artist first company that encourages open dialogue. We have nothing but a desire to help each one of our artists succeed, and hope that we can continue to have these critical conversations.”

In a new interview with Zane Lowe for Apple Music, Post Malone said it was “interesting to hear” Halsey’s opinion, adding that, for himself, it’s “just so hard for me to make something natural” on TikTok.

Asked by Lowe whether he believes he is successful enough to push back at any label demands for social media content, he said: “I just think it’s my personal opinion and the changes that I’ve made mentally to distance myself from that and that’s really impacted my life in a positive way.”

He added: “Do what’s right for you. It’s not choosing whether you’re like, ‘Oh I don’t have to do that because I play arenas, I headline festivals.’ It’s just whatever makes you comfortable because, at the end of the day, you just gotta be comfortable with what you’re doing. And social media is something that I’m not super comfortable with.”

In the aftermath of Halsey’s comments, a number of artists have entered the conversation around artists’ use of TikTok and label demands.

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They include FKA twigs, who has said: “It’s true all record labels ask for are TikToks and I got told off today for not making enough effort” and since deleted her TikTok account. Charli XCX, Florence Welch and more have also expressed similar sentiments.

Rebecca Lucy Taylor, aka Self Esteem, has since penned an essay about the pressure she believes female artists face to provide TikTok content.

Writing in The Guardian, Taylor said: “I think it’s no coincidence that the recent examples of artists who say their labels have forced them to get on TikTok are all women.

“My pub-psychologist theory is that the music industry thinks of social media as an inherently female thing – it’s just another patriarchal idea that women and gay men are interested in the minutiae of other women, while men are just too busy and important to be interested in that stuff.”

Post Malone, meanwhile, will release new album ‘Twelve Carat Toothache’ tomorrow (June 3). He’s released two singles from it thus far: the Weeknd-featuring ‘One Right Now’ and the Roddy Ricch collab ‘Cooped Up’. Last month on Instagram Live, he shared snippets of a bunch of other collaborations set to appear on the album, including songs with Doja Cat and The Kid LAROI.

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Pale Waves to headline Live At Leeds: In The City 2022

Pale Waves are set to top the line up for 2022’s Live At Leeds: In The City – get all the details below.

  • READ MORE: Live At Leeds 2021: up-and-comers showcase their post-pandemic potential

This year, the traditional multi-venue festival in Leeds will be split into two events – an outdoor event in June dubbed Live At Leeds: In The Park which will feature Bombay Bicycle Club, Arlo Parks, Sea Girls, Easy Life, The Vaccines and more, and the usual inner-city festival, now called Live At Leeds: In The City, on October 15.

Alongside Pale Waves at the October event will be Working Men’s Club, Baby Queen, Sea Power, Will Joseph Cook, Prima Queen, Palace, Highschool, Anorak Patch and many more.

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See the full line-up below and pick up your tickets here.

Reviewing last year’s Live At Leeds, NME wrote: “One of the country’s largest multi-venue, inner-city festivals, the pandemic seems to have not only affected Live At Leeds’ usual May timing, but the calibre of its booking.

“The top-of-the-billing bloke-fest feels like a shame, but nonetheless, Yorkshire folk are a stoic bunch. With the opportunity for all-you-can-eat gig-hopping on a crisp Autumn day, it quickly becomes a question of how quickly you can hotfoot it around the city buffet.”

At the show, Pale Waves have promised to play new music from upcoming third album ‘Unwanted’, which was announced this month with first single ‘Lies’.

“‘Lies’ is about someone who built up my trust and destroyed it like a wrecking ball,” frontwoman Heather Baron-Gracie said of the track. “It caused some real trust issues, but fortunately for me that person is no longer in my life. Once you do me wrong you’re gone!”

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Scorpions changed lyrics to ‘Wind Of Change’ because it “romanticised Russia”

Scorpions have revealed why they’ve changed the lyrics to their chart-topping hit ‘Wind Of Change’, explaining that they no longer wanted to “romanticise Russia”.

In light of the ongoing conflict between Russia and Ukraine, the German hard rockers decided to change the song’s lyrics for their ongoing US and European tour, which opened in Las Vegas on March 26, a month after the start of the invasion.

“To sing ‘Wind of Change’ as we have always sung it, that’s not something I could imagine any more,” Meine told Die Zeit. “It simply isn’t right to romanticise Russia with lyrics like: ‘I follow the Moskva/ Down to Gorky Park…Let your balalaika sing’“.

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The band have changed the lyrics to: “Now listen to my heart/ It says Ukrainia/ Waiting for the wind to change,” which are projected on a screen behind the band as they perform.

Released in 1991, the perestroika power ballad is the German hard rockers’ most famous song; it was voted song of the 20th century by viewers of the public broadcaster ZDF in 2005.

Even though the song was released over a year after the fall of the Berlin Wall, it is widely remembered as the soundtrack to the era of economic and social changes in the former Soviet Union that heralded the end of the cold war.

Meine said he composed the words on September 3 and 4, 1989, a month after Scorpions performed at the Moscow Music Peace festival.

Elsewhere in the interview with Die Zeit, Meine discussed his friendship with Hanoverian ex-chancellor turned Russian gas lobbyist Gerhard Schröder, whose fifth wedding party he attended in 2018.

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“I haven’t spoken with Gerhard Schröder for a while,” Meine said. “But his behaviour really is hard to understand.”

Schröder held on to his boardroom post with Rosneft for the first three months of the Russia-Ukraine war before the Russian state-owned oil company announced his stepping down on May 20.

“If he now gives up this post on the supervisory board, then that is a genuine step in the right direction after a long time,” Meine said.
Meanwhile, Kalush Orchestra‘s Eurovision trophy has been auctioned off online to raise funds to buy drones for Ukraine’s ongoing war against Russia.

The Ukrainian rap group triumphed over the UK’s Sam Ryder at the Turin ceremony earlier this month, receiving a massive portion of the public vote.

As BBC News report, the winning trophy – a crystal microphone – has now been auctioned off on Facebook with the aim of buying drones for Ukraine’s armed forces with the proceeds.

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Cassyette announces ‘Sad Girl Summer’ UK tour

Cassyette has confirmed details of her ‘Sad Girl Summer’ tour – check out dates below and get your tickets here.

  • READ MORE: Cassyette: meet the punk powerhouse supporting My Chemical Romance this summer

The run of shows kicks off September 9 at Glasgow’s Cathouse before visiting Newcastle, Sheffield and Southampton before ending at London’s O2 Academy Islington.

The headline tour follows on from appearances at The Great Escape and a support slot with My Chemical Romance at Stadium MK. Before her ‘Sad Girl Summer’ tour starts, she’s also set to play Slam Dunk and Download Festival.

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Tickets for the tour go on sale Wednesday June 1 and will be available here. Check out her headline tour dates below:

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09 – Glasgow, Cathouse
12 – Cardiff, Clwb Ifor Bach
14 – Sheffield, Leadmill
15 – Manchester, Manchester Academy 3
19 – Southampton, Engine Rooms
20 – London, O2 Academy Islington

Earlier this month, Cassyette released two new tracks (‘Sad Girl Summer’ and ‘Dead Roses’) alongside an acoustic version of previous single ‘Mayhem’.

“I absolutely love these songs, so much so that I was really torn between putting out something that’s more pop-punk like ‘Sad Girl Summer’ or a real heavy track like ‘Dead Roses’. In the end I thought, why not just give my fans both and a stripped back version of ‘Mayhem’,” Cassyette said in a press release.

She went on to add: “‘Sad Girl Summer’ is about being cheated on. It’s a ‘fuck you’ song and I want people to feel empowered by it. Anyone that’s ever been cheated on will understand that hurt. It’s a proper rager in the chorus. I was so fed up at the time I wrote this, and I was so over crying over them. I wrote it over two days and on the first day I felt so depressed, and by the second day I wanted to turn the song around and reclaim the power.”

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Speaking to NME about how TikTok encouraged Cassyette to embrace the more extreme ends of her sound, she said, “I just find TikTok so much fun. It’s really easy to find like-minded people on there, and there’s this new alt scene forming on the platform. We all encourage each other as well, which I’ve found really inspiring.

“The music I write covers such a spectrum, from pop-rock to hardcore, metal, and deathcore, and I used to be really worried about releasing those more extreme songs. TikTok has taught me you can be more than one thing.”

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Demi Lovato announces forthcoming single ‘Skin Of My Teeth’

Demi Lovato is set to release a new single titled ‘Skin Of My Teeth’ next month, kicking off a new rock era for the pop star.

The singer announced the forthcoming track on social media earlier this week, sharing its title, artwork and a snippet of the song, which is slated for release on June 10.

  • READ MORE: Demi Lovato – ‘Dancing with the Devil… the Art of Starting Over’ review: raw, cathartic pop

The single art features Lovato emerging from water, dressed in spiked leather, chains and a fishnet stocking over their head, while the eerie clip sees a man holding a video camera with ‘Skin Of My Teeth’ playing in the background. It’s not a long taste of the song, but enough to identify a rock meets pop-punk sound, with the lyrics: “Demi leaves rehab again / When is this shit gonna end?

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Check it out below.

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A post shared by Demi Lovato (@ddlovato)

‘Skin Of My Teeth’ will mark a new era for the singer, who joked about holding a “funeral for my pop music” earlier this year with an image on Instagram of them and their team all dressed in black.

Speaking to Rolling Stone in February, Lovato said that this new sound would be something of a reprisal of their first albums, ‘Don’t Forget’ and ‘Here We Go Again’, with a newfound “heaviness”.

“When I say heaviness, I don’t mean lyrically, but heaviness as in some of the sound that I haven’t done before, which is exciting. It’s a new era reminiscent of my first era,” Lovato said, adding: “I’m ever-evolving, ever-changing. I’d like to put the rest of my music behind me and start fresh in this new era for this next album – but I do that every album cycle.”

The singer released their last record ‘Dancing With The Devil… The Art Of Starting Over’ last April, which NME gave four stars in a review. An unofficial soundtrack to Lovato’s documentary Dancing with the Devil, NME said the album was “powerful, purposeful and uncompromising” and their “definitive artistic statement to date”.

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Listen to Kali Uchis’ cover of Stan Getz and Joao Gilberto’s ‘Desafinado’

Kali Uchis has performed a soaring cover of Stan Getz and Joao Gilberto’s ‘Desafinado’ – check it out below.

The new song appears in the new Minions: Rise Of Gru film. The soundtrack has been produced and curated by Jack Antonoff.

The  soundtrack also features tracks by Tame Impala and Diana Ross as well as covers of classics from the 1970s – when the film is set – from the likes of St. Vincent, Phoebe Bridgers, Brittany Howard, and more.

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The album arrives July 1, the same day as the film’s release in cinemas.

Check out Uchis’ track below:

The soundtrack was teased earlier this month via a colourful ’70s themed poster spotted around London.

The posters, which started to appear on May 8, noted that the project is produced by Antonoff and will feature several special guests. Amongst those listed in addition to the ones above were Thundercat, Brockhampton and Antonoff’s own band Bleachers.

It also led to speculation that Ross and Tame Impala’s Kevin Parker were working on new music again, rumours of which first surfaced last year.

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Diana Ross
Diana Ross. CREDIT: Kevin Mazur/Getty Images

Ross put out her 25th studio album, entitled ‘Thank You’, in November 2021. It marked her first album of new and original material since 1999’s ‘Every Day Is A New Day’. In a three-star review, NME described the album as “schmaltzy, mid-tempo diva empowerment”.

“It feels as if everybody involved in ‘Thank You’ has reverentially tried to make the platonic ideal of a Diana Ross album,” it read. “Instead[, it has] fallen into the late-career artist deadzone of a pleasant record that neither particularly updates nor diminishes her legacy.”

Ross is due to headline Glastonbury in the legends slot in June.

Parker, meanwhile, is still on tour in support of Tame Impala’s 2020 album ‘The Slow Rush’ – although he’s recently claimed that Impala’s fifth album will be completed “sooner than what has been the pattern”.

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Bop Shop: Songs From Rico Nasty, Oneus, Magnolia Park, Alex G, And More

The search for the ever-elusive "bop" is difficult. Playlists and streaming-service recommendations can only do so much. They often leave a lingering question: Are these songs really good, or are they just new?

Enter Bop Shop, a hand-picked selection of songs from the MTV News team. This weekly collection doesn't discriminate by genre and can include anything — it's a snapshot of what's on our minds and what sounds good. We'll keep it fresh with the latest music, but expect a few oldies (but goodies) every once in a while, too. Get ready: The Bop Shop is now open for business.

  • Rico Nasty: "Intrusive"
    https://www.youtube.com/watch?v=3xkoPYsD9DA

    Leave it to Rico Nasty to drop a song about intrusive thoughts that sounds beamed in from an alien planet where big beat reigns. Evoking The Prodigy in both the drum breaks and general fierceness, "Intrusive" is, fittingly, a total fire starter. When Rico exclaims, "I'm only here to smoke more blunts / And spit on racist cunts / Mom, if you hear this, I'm sorry," you might just wanna go rage with her. —Patrick Hosken

  • Magnolia Park ft. Derek Sanders: "Feel Something"
    https://www.youtube.com/watch?v=Om458AUy_OQ

    Magnolia Park are unique talents with the ability to make dance-worthy bops about heavy issues. On “Feel Something,” the Florida up-and-comers are accompanied by Mayday Parade’s Derek Sanders as they tap into one of the more common themes of their discography: mental health. And they do so with nuance and honesty, with lyrics like: “Don't say it's OK to not be OK / Do you think I like it when I get this way? / I’m sorry I’m angry at myself / I’m sorry I haven’t asked for help.” It’s a reminder that there’s no one-size-fits-all approach to mental health and of the importance of living in the moment. —Farah Zermane

  • Alex G: "Blessing"
    https://www.youtube.com/watch?v=PElHOpvqRK4

    Headphones warning! "Blessing" is textbook Alex G: It begins with a tremendous blast of noise before settling into an atmospheric guitar-centered exploration of an indefinable mood. Over three minutes, Alex aims to define it anyway. That initial noise becomes a refrain where he gathers strength to add additional layers — a sizzling keyboard line, quarterback "hut" sounds, and overall mingling of menace and beauty. —Patrick Hosken

  • Oneus: "Bring It On"
    https://www.youtube.com/watch?v=fmgHsn4IZi4

    K-pop group Oneus ferociously pushes forward with new single “Bring It On,” an edgy and energetic track bound to get stuck in your head. As the first single off their seventh EP Trickster, “Bring It On” is dedicated to their To Moon fandom rap-line enthusiasts, as it bursts with life during Ravn’s and Leedo’s verses. Sonically, the song calls back to past tracks like “No Diggity,” where the group utilizes a combination of unique production aspects to create a sound completely their own. “Bring It On” features heavy 808s, distorted electric guitars, and even the sound of glass shattering, all of which work together to form the perfect support to the track’s strong and confident lyrics. The accompanying visual perfectly matches “Bring It On”’s aggressive energy, utilizing numerous brightly colored sets and silhouettes, as well as the group’s overall dance talent, to make the song truly come to life. —Sarina Bhutani

  • CeCe: "Fueo"
    https://www.youtube.com/watch?v=BZL1vYgbRj0

    Via what feels like a warm summer memory, “Fueo” is a reminder that life is better with the mentality that you're “here for a good time and not a long one.” Throw caution to the wind and, in the best way, “fuck up each other” — a.k.a. the meaning behind the song title. Its lyrics encourage you to take advantage of every moment you're given, create your own happiness, and surround yourself only with people who are along for the ride. Best enjoyed at high volumes, the anthemic track is the latest release from rising star CeCe and is a must-add to your summer playlists. —Daniel Head

  • Sech: "Noche De Teteo"
    https://www.youtube.com/watch?v=9SxtrBtKOyk

    Simply put, another banger from Panamanian reggaeton superstar Sech. To put it a little more verbosely, the talent's flexible vocal range helps "Noche De Teteo" feel like two distinct tunes in one: a more soulful, heart-on-sleeve romantic entry flashing a more reserved, cool, and stylish exterior. Hard to pull off. But Sech makes it sound like a breeze. —Patrick Hosken

  • Sizzy Rocket: "Rebel Revolution"
    https://www.youtube.com/watch?v=EHW5TH2wYa4

    Summer is in the air, and Sizzy Rocket is turning the temperature up even more with her new hot, gay summer anthem “Rebel Revolution.” Crafted with “Born This Way” producer Fernando Garibay, the spunky track finds her not only embracing her identity, but unapologetically flaunting it. “I had to free myself and let go of the fear I was harboring from being shamed and told to hide my gayness early in my career,” she said in a statement. “It’s about taking my power back, the idea that true rebellion comes from within.” With a David Bowie-inspired chant of “Rebel / rebel” and attitude to spare, it’s a refreshingly rough-around-the-edges take on the self-empowerment bop that will have you ready to dance, especially in the spaces where you feel “free as hell.” —Carson Mlnarik

  • Got7: "Nanana"
    https://www.youtube.com/watch?v=IZ0oQ6nzKxo

    Making their highly anticipated comeback, the members of Got7 return to the scene after a 15-month hiatus with “Nanana,” a sweet and sparkly mid-tempo perfect for a summer love. As the first single off their new self-titled EP, “Nanana” marks the start of the effervescent K-pop group’s new journey, redefining what it truly means to be Got7 and showing their strength and power as a team. In contrast to the often boisterous and high-energy tracks of their fellow boy groups, “Nanana” features softer synths and mellowed electronic elements alongside often perfectly harmonized vocals, displaying the seasoned evolution of a group of eight years. Visually, the group takes viewers on a trip to their new fantasy dream home, surrounded by pink clouds and filled with brightly colored flowers and ambient lighting to welcome you into their new world. Hopefully, they won’t be moving any time soon. —Sarina Bhutani

  • Zara Larsson: "Lush Life (Acoustic Version)"
    https://youtu.be/oqViH_pRCHw

    Back in 2015, Swedish pop singer Zara Larsson caught international attention with her upbeat electropop hit perfect for exciting summer flings and carpe diem attitude. While the song can be perceived as Zara jumping from crush to crush without any thought, the acoustic version shows more depth to her feelings and her hidden grief. With its melancholy piano and violin strings, the song becomes very sentimental and bittersweet. Crushing hard and experiencing the rush of casual, short relationships can be fun, but it’s always sad when there’s an ending — regardless whether you’re the dumper or a dumpee. But in the end, there’s a sense of seriousness: You “gotta get back in the groove” even after going low. —Athena Serrano

  • Tai Verdes: "100sadsongs"
    https://www.youtube.com/watch?v=-jrtGTz6K2c

    In a just world, "100sadsongs" would be sitting atop Billboard's Adult Alternative Airplay chart. This has less to do with Tai Verdes's sonic prowess — though he enthusiastically checks every box — and more to do with the way the artist captures the heart of how a triple-A hit should feel. You should be standing in line at a grocery store, hear "100sadsongs" come on overhead, and save the lump in your throat for the car, lest the folks around you see your face change. You will not ugly cry to it the way you would to, say, Adele. But there will be ache in your bones — of wanting to fight the break of dawn and being covered in lies and having nothing left to lose. That gentle, gnawing melancholy permeates "100sadsongs." Maybe those past hits are even included in the titular 100 tunes Verdes sings about. Maybe that's why it got me right in the gut. —Patrick Hosken

The Kunts on their Jubilee single ‘Prince Andrew Is A Sweaty Nonce’

Today sees controversial punk band The Kunts release their attempt at a Jubilee Number One with ‘Prince Andrew Is A Sweaty Nonce’. Check it out below, along with our interview with frontman K.

The Kunts’ previous two singles, ‘Boris Johnson Is A Fucking C**t’ and ‘Boris Johnson Is STILL A Fucking C**t‘, both reached number five in the UK singles chart in 2020 and 2021 respectively as they attempted to score a Christmas Number One.

Now, the Essex punks are attempting a Number One single in time with the Queen’s Platinum Jubilee celebrations next week with a new single that lampoons The Duke Of York. The third child of the Queen, Prince Andrew stepped down from royal duties in the wake of a civil sexual assault case that was recently brought against him in the US by Virginia Giuffre. He strongly denied all wrongdoing.

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The song is based around the children’s rhyme ‘The Grand Old Duke Of York’, and aims to “re-open the conversation around [the Queen’s] son Prince Andrew’s conduct at this time when the establishment appear to want it swept under the carpet”.

Lyrics in the song include the section: “The grand old Duke of York / He said he didn’t sweat / So why did he pay 12 million quid / To a girl he’d never met?

“For me, having grown up with the folklore around The Sex Pistols’ ‘God Save The Queen’ getting robbed of the top spot in ’77, a Jubilee celebration has always felt like it could be a good chance to air any grievances one may have with our unelected head of state and her feckless offspring,” frontman Kunt told NME.

“The timing this year felt perfect, given Prince Andrew’s bizarre, shameful, and cowardly behaviour as he attempted to dodge any sort of accountability for the alleged sexual assault on Virginia Giuffre, followed by the attempt to sweep it all under the carpet with an out of court settlement.”

On the message he hopes to send to the monarchy of the UK, Kunt said: “I can’t help thinking that in a day and age where there are families reliant on foodbanks to feed their children and old ladies riding around on buses because they can’t afford to heat their homes, the idea that there is this family who live in castles and palaces, and whose crowns gilded with gold and jewels get ferried around in specially built Rolls Royces does feel a bit like something that we as a society should have risen up and put a stop to by now.”

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Kunt went on to say that the band had received a fair amount of backlash from Royalists, but argued that they were among the Brits that are “just stuck in a rut of how things have always been and are generally scared of change”.

“It feels like that’s how the system carries on, by making us fear that if things change we might be worse off. But how bad has it got to get?”

Following on from their past two attempts at establishment-toppling Number One singles, Kunt said that the groundswell of support for the band had been “heartwarming”.

“I was really touched by the sense of community that developed from people getting behind the songs,” he said. “When we released ‘Boris Johnson Is A Fucking C**t’ for Christmas 2020, it was just a bit of a last minute shot in the dark so to actually end up being talked about as a possible contender for Christmas Number One was unbelievable.

“Despite the ‘Boris Johnson Is STILL A Fucking C**t’ campaign a year later getting much less press coverage, getting dug out in an interview by LadBaby seemed to fire everyone up and make them even more determined to spread the word.”

Asked if the band would be going for a Christmas Number One again if the Prime Minister were still in power – despite the ongoing Partygate scandal – Kunt replied: “There’s a bleak thought. But if he is, obviously, yes.”

Kunt went on to express how he was disappointed but not surprised that Prime Minister Boris Johnson had not yet resigned.

“If I lived anywhere else apart from deepest Essex I would probably be surprised, but people round here seem unable and unwilling to want to break free from the Jedi mind trick Thatcher played on their aspirational mums and dads in the ’80s when she dangled the carrot of them being able to join the middle class,” he said.

“You hear it repeated a lot that Boris has done a good job under difficult circumstances and how no one could have done any better. When you consider that he has presided over 150,000 COVID deaths, the handout of PPE contracts to the Tories’ mates, his Health Secretary nobbing his secretary in the middle of a lockdown, discharging old people with COVID into the care homes, and attending parties while we couldn’t hug our nan, the idea that no one – not one single person in the country – could have handled it any better does seem a bit far-fetched.”

The Kunts on Boris Johnson
The Kunts return with ‘Boris Johnson Is STILL A Fucking Cunt’. Credit: Mike Fordham

As for their next move, The Kunts have “10 different mixes and versions” of ‘Prince Andrew Is A Sweaty Nonce’ ready for release along with remixes from the likes of Ricardo Autobahn and B3ta founder Rob Manuel. “We pile them high and sell them cheap to give the song the best chance of hitting the charts,” said Kunt.

“That’s our way of trying to level the playing field with the major label acts who get promotion from The One Show and BBC Breakfast.”

Kunt also added that his hopes were fading of representing the UK at Eurovision. “I’ve been waiting for them to call for 20 years,” he added. “It’s getting to the stage where I think I’m just gonna have to take my song to Moldova instead.”

Andrew, who repeatedly denied allegations that he sexually assaulted Giuffre when she was 17, reached an out-of-court settlement with Giuffre in February. The settlement, which makes no admission of liability, will see Andrew pay Giuffre an undisclosed sum as well as make a “substantial donation to Ms Giuffre’s charity in support of victims’ rights”.

‘Prince Andrew Is A Sweaty Nonce’ is available for download and streaming now. Visit here for more information.

SEVENTEEN set the world ablaze in music video for new single ‘Hot’

SEVENTEEN have dropped their new single ‘Hot’, a cut from their latest full-length album ‘Face The Sun’.

  • READ MORE: ‘SEVENTEEN Power Of Love: The Movie’ review: a sentimental love letter to fans

In the brazen new visual, the 13 members of the K-pop boyband make their way across an almost-barren desert, performing the song’s choreography against the backdrop of a construction site around a partially-built structure that appears to be a giant palm.

“Face the sun, set it on fire / So hot / Face the sun, set it on fire / This song’s sizzling, everybody join in,” they chant on the song’s high-octane chorus. It’s the second single from ‘Face The Sun’, following the English track ‘Darl+ing’.

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‘Face The Sun’, which dropped alongside ‘Hot’, features seven other brand-new tracks from the boyband. As usual, all of the songs were co-written and -composed by member Woozi and frequent SEVENTEEN collaborator and producer Bumzu. Other members of the boyband, including Vernon, Hoshi and S.Coups, also contributed to the record.

Notably, ‘Darl+ing’ had been the first original English song to be performed by all 13 members of SEVENTEEN. Prior to this, several sub-units and solo members of the group had released a number of songs in English. These include Vernon and Joshua on ‘2 Minus 1’ from SEVENTEEN’s previous mini-album ‘Attacca’ released in May 2021, and Woozi with his solo mixtape ‘Ruby’.

The release of ‘Face The Sun’ marks SEVENTEEN’s first domestic release of 2022, arriving nearly three years after the group’s previous full-length record, ‘An Ode’, which dropped back in September 2019. That album had featured 11 tracks, and was led by the title track ‘Fear’.

The Killers air classics and covers as UK stadium tour kicks off in Doncaster

The Killers kicked off their 2022 UK stadium tour in Doncaster last night (May 24) – see photos, video, reaction, the setlist and ticket details for remaining gigs below.

  • READ MORE: The NME Big Read: The Killers: “There are a lot of young people unsure of their place in this world”

After playing an intimate tour warm-up in Sheffield last week (May 17), Brandon Flowers and co. played the Eco-Power Stadium, home of Doncaster Rovers FC, last night to open their tour.

At the show, they played tracks from across their seven studio albums, as well as a handful of covers.

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Among the cover versions were the band’s classic rendition of the Joy Division hit ‘Shadowplay’ and a version of ‘The First Time Ever I Saw Your Face’, the 1950s track written by Ewan MacColl for Peggy Seeger and popularised by Roberta Flack.

The set began with ‘My Own Soul’s Warning’ and ended with a four-song encore including ‘Hot Fuss’ tracks ‘Midnight Show’ and set closer ‘All These Things That I’ve Done’.

For the opening track, the band were backed by crashes of lightning on the big rectangular screen, with massive screens also flanking them on either side.

See footage and photos from The Killers’ tour opener in Doncaster below, alongside the full setlist and remaining tour dates. Find any remaining tickets here.

The Killers
The Killers kicking off their UK stadium tour at the Eco-Power Stadium in Doncaster on May 24, 2022. Credit: Rob Loud.

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The Killers
The Killers kicking off their UK stadium tour at the Eco-Power Stadium in Doncaster on May 24, 2022. Credit: Rob Loud.

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The Killers kicking off their UK stadium tour at the Eco-Power Stadium in Doncaster on May 24, 2022. Credit: Rob Loud.

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The Killers
The Killers kicking off their UK stadium tour at the Eco-Power Stadium in Doncaster on May 24, 2022. Credit: Rob Loud.

The Killers played:

‘My Own Soul’s Warning’
‘Enterlude’
‘When You Were Young’
‘Jenny Was A Friend Of Mine’
‘Smile Like You Mean It’
‘Shot At The Night’
‘Blowback’
‘Running Towards A Place’
‘Mr. Brightside’
‘Somebody Told Me’
‘Fire In Bone’
‘Shadowplay’ (Joy Division cover)
‘Run For Cover’
‘Runaway Horses’
‘A Dustland Fairytale’
‘First Time I Ever Saw Your Face’ (Ewan MacColl & Peggy Seeger cover)

‘Runaways’
‘Read My Mind’
‘Dying Breed’
‘Caution’

Encore:
‘Spaceman’
‘Human’
‘Midnight Show’
‘All These Things That I’ve Done’

The Killers
The Killers kicking off their UK stadium tour at the Eco-Power Stadium in Doncaster on May 24, 2022. Credit: Rob Loud.

You can see The Killers’ full 2022 UK stadium tour dates below – find any remaining tickets here. Support will come from Blossoms (dates marked **), Manic Street Preachers (dates marked ##), Sam Fender (^^) and Supergrass (~~).

MAY
26 – Bristol, Ashton Gate##
28 – Coventry, Ricoh Arena##
30 – Southampton, St Mary’s**

JUNE
1 – Middlesbrough, Riverside Stadium##
3 – London, Emirates Stadium^^
4 – London, Emirates Stadium^^
7 – Falkirk, The Falkirk Stadium~~
9 – Norwich, Carrow Road**
11 – Manchester, Emirates Old Trafford**
14 – Dublin, Malahide Castle^^
15 – Dublin, Malahide Castle^^

Additionally, the band are set to appear at various European festivals this summer, including Open’er Festival in Poland, Mad Cool in Spain and Lollapalooza Stockholm in Sweden.

The Killers’ seventh studio effort, ‘Pressure Machine’, came out in August 2021. The group shared seven new songs on a deluxe edition of the record in March.

Pusha T reveals the advice Pharrell gave while making new album

Pusha T has revealed the advice that Pharrell gave him while writing his latest album.

  • READ MORE: Pusha T: “I’ve won the wars. I have withstood everything”

Speaking to NME for this week’s Big Read, Pusha revealed that while working at Pharrell’s compound in Miami, the rapper gave him invaluable advice about getting in character on his songs.

“[Pharrell] said the evolution of me is being more of a character,” Pusha explained. “He doesn’t like me rapping. He tells me all the time: ‘You can do that verse in your sleep. You have to give me the character, that matter-of-fact evil guy.’”

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Pusha went on to explain how Pharrell played him Joker, the 2019 Batman prequel starring Joaquin Phoenix, and had it playing on mute in the background while they dug through crates of beats, finding the right ones for Pusha to rap over.

“One of the songs we created was ‘Neck & Wrist’,” Pusha said. “He was like, ‘Look at this shit – you don’t get those bars without those visuals.’”

NME Cover 2022 Pusha T

He then went on to explain how JAY-Z ended up on the track.

“If there’s one thing that Jay realises about me,” Pusha said. “He knows that if I’m hitting him about a song, I’m not fucking joking. It’s not a game. I knew we were going to move culture with this and JAY-Z is the holy grail of street rap. I don’t know anyone else that can make ‘Neck & Wrist’, that can harness that energy, except for us three.”

Elsewhere in the interview, the Virginia rapper talked about the creative and personal differences between him and Kanye West – now known officially as Ye. The rapper worked with Ye’s G.O.O.D Music as a signed artist before becoming the label’s President.

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“Ye and I are very different people,” Pusha told NME. “The only thing we have in common is our love of street rap. He’s a huge fan and I’m the DNA of that. We’re really parallel on it. I feel like everything else is a debate because we’re just very different people.”

“He’s very emotional and I am way more calculated than him,” he continued. “So, music is never the debate; it’s the strategy that is the debate with us all day long. His superpower is his instinct, so when that’s your superpower, the shit works the majority of the time.”

Pusha added: “My superpower is my calculated, methodical fucking way of going about things, being able to sit back and withstand whatever before I strike.”

Earlier this month, Pusha commented on a supposed beef between himself and Eminem, explaining it is a “misinterpretation”.

“I saw just recently on Twitter people saying myself and Eminem,” he said. “I’m like, bro! It was a misinterpretation of something I don’t even remember. Something I said or whatever. But you know, people decode, and they have their own thing.”

Cassyette’s shares two new tracks and a stripped down version of ‘Mayhem’

Cassyette has shared two new tracks today (May 24), plus an acoustic version of ‘Mayhem’ – check them all out below.

  • READ MORE: Cassyette: “Touring with Frank Carter was huge… it became a big learning curve”

Fresh from completing her recent support slots with My Chemical Romance, the musician shared two new tracks, ‘Sad Girl Summer’ and ‘Dead Roses’, and an acoustic version of previously released song ‘Mayhem’ via her independent label, Devil Land.

Speaking about ‘Sad Girl Summer’ and ‘Dead Roses’, Cassyette said: “’Sad Girl Summer’ is about being cheated on. It’s a ‘fuck you’ song and I want people to feel empowered by it.”

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She continued: “Anyone that’s ever been cheated on will understand that hurt. It’s a proper rager in the chorus. I was so fed up at the time I wrote this, and I was so over crying over them. I wrote it over two days and on the first day I felt so depressed, and by the second day I wanted to turn the song around and reclaim the power.

“I wrote ‘Dead Roses’ the day after I wrote ‘Mayhem’. I realised the relationship I was in at the time was over and wasn’t what it once was before. The line ‘we’re sleeping on dead roses’ was a metaphor for that and the thorns were the pain I felt realising we had fallen out of love”

On releasing all three tracks simultaneously, Cassyette added: “I absolutely love these songs, so much so that I was really torn between putting out something that’s more pop-punk like ‘Sad Girl Summer’ or a real heavy track like ‘Dead Roses’…in the end I thought, why not just give my fans both and a stripped back version of ‘Mayhem’”.

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The tracks will feature on a new “upcoming project” from Cassyette, details of which will be announced soon, according to a press release.

Cassyette will perform at number of festival slots this summer, including Download Festival, Slam Dunk Festival, 2000trees Festival and more.

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Only 13 per cent of UK festival headliners are female, study finds

A new study has found that just 13 per cent of headliners at the UK’s top festivals are female.

  • READ MORE: Where are all the female headliners? Festival bookers, bands and fans weigh in on how to change the narrative

BBC Radio 1’s Newsbeat‘s key finding equates to only one in 10 headliners at leading 2022 UK music festivals being women, despite many events promising five years ago to achieve a ’50/50′ gender balance across their line-ups by this year.

The new study focused on 50 of the biggest festivals, taken from a YouGov survey.

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Out of 200 headline acts it found that 26 (13 per cent) were an all-female band or a solo artist; 149 (74.5 per cent) were either an all-male band or a solo artist; 24 (12 per cent) had a mixed line-up of male and female performers, and one (0.05 per cent) artist identified as non-binary.

Billie Eilish
Billie Eilish will headline Glastonbury 2022. CREDIT: Emma McIntyre/Getty Images

In 2017, two projects were launched with the aim of securing more female and female-identifying acts on stages. Festival Republic’s ReBalance and PRS’ KeyChange followed a previous BBC study that found that approximately 80 per cent of headliners were all-male.

US singer-songwriter Maggie Rogers told Newsbeat in response to the new data: “It feels awful.

“The music industry has been largely run and dominated by males since the beginning of time,” she said. “I’m sure that every female act can tell you a story of growing-up, walking into a guitar shop and just having your dreams crushed”.

“It’s interesting, in a post-#MeToo era, because this imbalance is something we’ve had so much conversation about, but still in the music industry, [the proportion of women working in it] is a horrifying number.”

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Maggie Rogers
Maggie Rogers performs live in 2021. CREDIT: Jim Bennett/WireImage

But festival organisers have said that it’s unfair to point fingers at them alone for such disparity. They highlighted that some progress has been made.

London’s Wireless festival has three female headliners – SZA, Cardi B and Nicki Minaj – among a total of seven acts topping the bill. A$AP Rocky, J. Cole, Tyler, The Creator and Dave will also perform headline slots at the double-weekend festival this year.

Reading and Leeds Festival has booked Megan Thee Stallion as well as Halsey, who is non-binary, alongside Dave, Artic Monkeys, Bring Me The Horizon and Rage Against The Machine.

side-by-side images of A$AP Rocky, Tyler, The Creator and Cardi B performing live onstage
A$AP Rocky, Tyler, The Creator and Cardi B perform live. CREDIT: Getty

Last year, campaigners and figures within the music industry spoke to NME about the need for “urgent” and shared action to improve gender diversity on festival line-ups.

Maxie Gedge, Project Manager of KeyChange at the PRS Foundation, said: “I feel like festivals have an important responsibility, and we’ve had many sign up to the pledge who are making a positive change.

“We view gender equality as a very urgent issue that needs addressing in the music industry. COVID has only amplified that. The back-to-live situation makes us super hopeful that we can have some festivals this summer, but when they started to announce these line-ups we were so disappointed.”

Laura Davidson, who was the head booker at All Points East Festival, founded AMIGAS in recent years – described as a “growing collective of industry-leading women professionals who are passionate and dedicated to building back the live sector, better”.

The collective aims to “facilitate, inspire and empower women from all backgrounds to enter the live music industry”. Speaking to NME in 2021, Davidson explained the difficult landscape that festivals faced last summer.

“I feel like now is the time for the industry to come together and work out how the gender balance throughout the whole industry can be addressed,” she said. “Labels, managers, artists and promoters should all be looking at their rosters and ensuring they are supporting women and gender minorities. The whole ecosystem is so male-dominated and this needs to change.

glastonbury
Crowds listen to Kylie perform on the Pyramid Stage at the 2019 Glastonbury Festival held at Worthy Farm, in Pilton, Somerset on June 30, 2019 near Glastonbury (Picture: Getty)

“Not only do we need to look at the industry as a whole, but even deeper than that, and the cuts that have been made in education by the government. The problem is, as it stands, there are just not as many female artists available for certain slots, as male. If you’re Glastonbury and you’ve got the pick of pretty much any artist that you want to book, and artists will plan their whole summer around playing your festival, then it’s obviously much easier to book a diverse and balanced bill.

“However, booking festivals is so incredibly competitive and it’s not quite as simple as booking every artist you want to book. There are politics and exclusivities that get in the way of this and unfortunately it often comes down to how big your cheque book is! This is often left out of the commentary.”

She added: “There’s so much to be done and that is what we’re here to help to do,” she added. “It’s going to take longer than a year but I feel that it is achievable in five years with the whole industry pulling in the same direction and taking positive action.”

Visit here for more information on KeyChange and here for more on AMIGAS.

Reviewed! Moonage Daydream a trippy flashback of David Bowie’s life

This may not be the in-depth movie bio you think David Bowie deserves, but it is a film he would have loved: playful, intelligent and admirably wary of covering familiar ground. It’s a trippy reverie that resembles an acid flashback more than a documentary.

  • ORDER NOW: Queen are on the cover of the latest issue of Uncut

Directed by Brett Morgen – who adopted a similar path-less-trod route to Kurt Cobain in Montage Of HeckMoonage Daydream opens with a sequence cut to Bowie’s 1995 Pet Shop Boys collaboration “Hallo Spaceboy”: not only a neat way to underscore his intentions to avoid a linear trawl through the star’s back pages, but also a signal that Morgan is hip to the better work in his subject’s later discography. Some omissions may be surprising – the film’s speedfreak pace seems to take us from Ziggy Stardust to Low – but others are not: Bowie’s post-Let’s Dance ’80s output and both Tin Machine albums among them.

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A framing device using footage from the Blackstar promo allows Morgan to play with the Bowie as-space-alien metaphor, crash-landed in post-war Britain. But the director digs into Bowie’s earthly origins, using excerpts from vintage TV interviews in which he lays out his thoughts, revealing that his early success meant that he never grew to be the person he “should have been”. To accompany this, Morgen uses a slew of interesting live takes to underscore all this self-examination, including a phenomenal version of “The Jean Genie” that incorporates The Beatles’ “Love Me Do”.

The rain of references is torrential, and Morgen never lets up, so if you’re not familiar with Bowie’s movie work, his paintings, his book collection, or his esoteric work with the likes of Klaus Nomi and La La La Human Steps, then Moonage Daydream may prove to be hard work. But at the same time, it’s refreshing to see a film that expects you to do that work yourself. It may not be the full story, but Moonage Daydream is a powerful attempt to convey the restless curiosity that fuelled Bowie to the end.

Moonage Daydream opens in the UK in on September 22

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Charli XCX announced for inaugural Bristol festival FORWARDS

Charli XCX has been announced for the inaugural Bristol festival FORWARDS this autumn, marking her first live appearance in the city – you can buy tickets from here.

  • READ MORE: 20 festivals to look forward to in 2022

She joins the already announced Jamie xx, Little Simz, Khruangbin and Fred Again.. on the Saturday (September 3) line-up at Bristol’s Clifton Downs. FORWARDS runs across two days, culminating with a headline set from The Chemical Brothers on the Sunday (September 4).

Also playing the weekend are Róisín Murphy, Caribou, Sleaford Mods, Spiritualized, Floating Points, Kae Tempest, Kojey Radical, Self Esteem, Shygirl, The Comet Is Coming, Warmduscher, OVERMONO, Gabriels, Sudan Archives, Chrissi, Billy Nomates, Melt Yourself Down, Connie Constance, Kam-Bu, Rozi Plain, Hypothetics, Ishmael Ensemble And Friends, Willow Kayne and Harvey Causon.

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FORWARDS is described in press material as a festival that “challenges what metropolitan festivals can be today, kickstarting a new breed of city festivals by committing to positive change through social initiatives and a powerful platform for discussion”.

Charli XCX
Charli XCX. Credit: Rich Fury/Getty Images

As well as the two main music stages, FORWARDS will also platform forward-thinking conversations. This will include a discussion on race with the former footballer and author of The Uncomfortable Truth About Racism John Barnes, who will be in conversation with Bristolian poet and active media spokesperson on the Colston Four trial, Lawrence Hoo.

Also on the talks line-up are discussions on trans rights and gender fluidity, the cost of living crisis, feminist agendas and the music industry today. Other speakers booked for the festival include Lemn Sissay, Jack Monroe, Jay Rayner and Shon Faye.

Additionally, the festival has built social initiatives into its infrastructure including partnering with community catering company Team Canteen, which fights against food vulnerability, and will provide community-led catering across the two-day event.

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Day tickets are now available from £56.89, with weekend tickets available from £102.14. Concessions are available for children aged 5-15, locals and low income individuals.

Elsewhere, Charli XCX is joining Soft Cell, The Go-Go’s and Corey Hart to perform a special virtual concert to celebrate the arrival of Stranger Things season four.

Titled ‘Live From The Upside Down’, the livestream show is set to go ahead on June 23 and is the result of a deal struck between Netflix and Doritos.

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Halsey says their label are holding a new song hostage until they can “fake” a viral TikTok

Halsey has shared a message claiming that their label are holding a new song hostage until they can “fake” a viral TikTok.

Taking to their TikTok page, the singer – who released latest album ‘If I Can’t Have Love, I Want Power’ last year – said in a post titled “I’m tired” that there is new music she wants to release “ASAP,” but that “marketing” is getting in the way and the label won’t let her share the new song.

  • READ MORE: Halsey wins the Innovation Award at the BandLab NME Awards 2022

“My record company is saying that I can’t release it unless they can fake a viral moment on TikTok,” Halsey said.

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“Everything is marketing,” they added. “And they [the label] are doing this to basically every artist these days.”

See the TikTok, which includes a snippet of the new song, below.

@halsey

I’m tired

♬ original sound – Halsey

Back in March, Halsey teased that she had been writing new music and intends to make “a pop album” for their next release.

The singer shared several posts on her Instagram Stories to update fans about their progress, writing: “Due to personal reasons I will be making a pop album.

“I have an incredible song that I could put out as a single for radio next but I feel like that’s insane to do bc I haven’t even toured iichliwp [‘If I Can’t Have Love, I Want Power’] yet idk,” they wrote in a follow-up post. “I actually have a few. Idk what to dooooo.”

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The pop star recently won the Innovation Award at the BandLab NME Awards 2022 in recognition of their drive to reinvent themselves while inspiring the music world to evolve.

NME, thank you so much for this year’s Innovation Award. This is the coolest award I’ve gotten in my life, ever. It means the world to me,” Halsey said of the honour. Watch her full acceptance speech below.

Halsey’s ‘Love And Power’ US tour – in support of ‘If I Can’t Have Love, I Want Power’ – began last week (May 17) in Florida, with dates scheduled up until July 9 where the run ends in California.

During the opening night she screened a video about Roe v. Wade, in light of a leaked draft opinion from the Supreme Court that recently suggested the landmark 1973 ruling would be overturned, threatening the status of legal abortion in the US.

Halsey
Halsey photographed in December 2021 (Picture: Axelle/Bauer-Griffin/FilmMagic)

The ‘Love And Power’ tour comes ahead of Halsey’s headline appearance at Reading & Leeds Festivals in August alongside Arctic Monkeys, Bring Me The Horizon, Dave, Megan Thee Stallion and Rage Against The Machine.

See the remaining dates on the tour here, and pick up any remaining tickets here.

MAY
24 – FirstBank Amphitheater, Nashville, TN
27 – PNC Music Pavilion, Charlotte, NC
29 – Pine Knob Music Theatre, Detroit, MI

JUNE
1 – Xfinity Center Boston, MA
3 – Blossom Music Center, Cleveland, OH
5 – Budweiser Stage Toronto, ON
8 – Merriweather Post Pavilion, Columbia, MD
11 – The Governors Ball, New York, NY
16 – White River Amphitheatre Seattle, WA
18 – RV Inn Style Resorts Amphitheater, Portland, OR
21 – Hollywood Bowl, Los Angeles, CA
24 – Shoreline Amphitheatre, Mountain View, CA
26 – Ak-Chin Pavilion, Phoenix, AZ
28 – Dos Equis Pavilion, Dallas, TX
30 – Cellairis Amphitheatre at Lakewood, Atlanta, GA

JULY
2 – Summerfest, Milwaukee, WI
3 – Hollywood Casino Amphitheatre, Chicago, IL
6 – Red Rocks Amphitheatre, Denver, CO
9 – FivePoint Amphitheatre, Irvine, CA

Coldplay, Billie Eilish, Charlie Puth and more back petition for action on poverty and climate change

A swathe of high-profile musicians and celebrities – including Coldplay, Billie Eilish and her brother Finneas, Charlie Puth, Shawn Mendes, Nile Rodgers and Adam Lambert – have signed an open letter urging world leaders to take action on the pressing affairs of extreme poverty and climate change.

  • READ MORE: Billie Eilish at Coachella 2022: a record-breaking performance from an artist born to headline

The letter was launched by Global Citizen at their inaugural “thought leadership summit”, Global Citizen NOW, which went down yesterday (May 22) in New York City. It comes as part of their yearlong ‘End Extreme Poverty NOW – Our Future Can’t Wait’ campaign.

Other names to sign the letter include 5 Seconds Of Summer, Alessia Cara, Billy Porter, Chloe x Halle, Cyndi Lauper, Duran Duran, Femi Kuti, Hugh Jackman, Måneskin and Ricky Martin.

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In the letter, they – and dozens more – call on billionaires, industry magnates, leaders of wealthy countries (such as those in the G7 and G20), and other people of significant influence “to step up by fully committing the funding necessary to tackle the challenges we face”.

The letter continues: “We need to improve opportunities for girls around the world, address the systemic barriers that keep people in poverty, and halt the climate crisis. But we can only succeed at addressing these issues by eliminating the barriers that have prevented us to end extreme poverty and committing to financing levels that will allow for real sustainable progress and not just a temporary fix.”

There’s a particular focus on the way extreme poverty has been amplified by the ongoing COVID-19 pandemic. According to Global Citizen, over 100 million people have been thrust into poverty since the virus broke out, erasing six years of progress made in helping to reduce global poverty rates. The UN’s food agency estimates (per Al Jazeera) that 45 million people could face starvation in 2022, unless immediate action is taken by those in power.

“The poorest people on our planet continue to suffer,” the open letter says. “They lack access to food, health care, and education. They deal with the realities of climate change – unending drought in some places, flooding, and rising sea levels in others. They are unable to put food on the table, unable to access basic medicines and health care, unable to access financing or equity, and therefore unable to offer their children a better future.”

Many of the artists linked to the new initiative have established relationships with Global Citizen, who have long held stature in the music and entertainment worlds. Back in April, for example, Eilish appeared alongside Radiohead, The Weeknd and more in a social media rally to urge governments and institutions to support humanitarian efforts in Ukraine and beyond.

Last September saw Måneskin play the Global Citizen Live stream in Paris, while Coldplay, Eilish and Finneas all performed together at the New York iteration, and Duran Duran headlined in London. Coldplay in particular are huge supporters of Global Citizen, mounting its previous humanitarian efforts in 2015, 2017 and 2018 as well.

Hayley Kiyoko announces second album ‘Panorama’ with single ‘For The Girls’

Hayley Kiyoko has announced details of her second album – get all the details on ‘Panorama’ below.

  • READ MORE: Hayley Kiyoko: “Sometimes it’s hard to find your people”

The new album and follow-up to the pop star’s 2018 debut ‘Expectations’ is due out on July 29 and being previewed by first single ‘For The Girls’.

“I love being a woman, and women have always been a massive influence on my life,” Hayley said of the new album in a statement. “‘For The Girls’ is an anthem celebrating that love, highlighting our strength, beauty, and vulnerability. The music video is meant to reflect that celebration with a sense of humour and an expansive take on whose romantic story gets told. It was so much fun to direct, especially since it’s a nod to one of my favourite reality shows of all time.”

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She added: “I wanted the music video to give representation to all of us searching for love while not taking ourselves too seriously. Being surrounded by queer people of many different gender identities and making art that feels relevant to us was the greatest gift. It was a reminder of how resilient this community is and how strong and confident we feel being our authentic selves together. No matter how you identify or who you love, I hope this summer bop makes you feel sexy and empowered.”

Watch the official video for ‘For The Girls’ below.

Kiyoko will play a London show next month (June 4) as part of the Proud and Loud celebrations, celebrating 50 years of the Pride movement.

She will then tour the United States in support of Lauv from mid-August.

Back in 2019, Kiyoko told NME of progress on new music, saying: However what the next project will be is still to be confirmed: “I’m working on a project of music, I’m not sure how long or how many songs it’s going to be, but definitely a project.

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“I mean it sounds awesome and you’ll love it. I’m really excited about it, and I try to only put out music I’m pumped on. Sometimes it gets hard cause you’re like “will this be successful or will people like this”, and I’ve just gone back to the basics of just like if I like it hopefully people will like it too.”

Watch the full video interview above.

Lil Nas X to be honoured at 2022 Songwriters Hall of Fame ceremony

Lil Nas X is set to be honoured at 2022 Songwriters Hall of Fame ceremony next month.

  • READ MORE: Lil Nas X – ‘Montero’ review: ‘Old Town Road’ prankster makes his case as a Serious Artist

On June 16 at the Marriott Marquis Hotel in New York City, the rapper and pop star will become the latest recipient of the Hal David Starlight Award, which is awarded to “gifted young songwriters who are making a significant impact in the music industry via their original songs.”

Others to have previously won the award in the past include Drake, Taylor Swift, Ed Sheeran, Halsey, John Legend and more.

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Nile Rodgers, chair of the Songwriters Hall of Fame, said: “Lil Nas X is someone we are very proud to award the Hal David Starlight Award to. He has perhaps better than anyone demonstrated how powerful great songs are, with ‘Old Town Road’ and ‘Montero’ dominating the charts for almost every day of the last three years.

“If you’re lucky enough to be alive at this time, you know exactly who Lil Nas X is and he’s an incredible and inspirational person for every one of his communities as well.”

Last month, Lil Nas X announced that he’ll be heading out on the road, with some European tour dates scheduled for the end of the year.

His ‘Long Live Montero’ tour is set to kick off in North America at The Fillmore in Detroit on September 6, and will make stops in Chicago, Nashville, Los Angeles and more before wrapping up in San Francisco at the Bill Graham Civic Auditorium on October 23.

The ‘Industry Baby’ hitmaker will then head out to Europe for a run of dates, starting in Amsterdam on November 8, taking in shows in Berlin, Hamburg, Paris, Brussels and ending in Barcelona, Spain on November 17.

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Among the European dates, Lil Nas X will head to London for a one-off UK show at Eventim Apollo on November 12.

Tickets for the North American dates are available here, with tickets for the European shows found here. You can see the full list of dates below.

SEPTEMBER 2022
6 – Detroit, MI – The Fillmore
10 – Chicago, IL – Byline Bank Aragon Ballroom
15 – Toronto, ON – HISTORY
18 – Boston, MA – MGM Music Hall at Fenway
20 – New York, NY – Radio City Music Hall
22 – Philadelphia, PA – The Met
25 – Washington, DC – The Anthem
27 – Atlanta, GA – Coca-Cola Roxy

OCTOBER 2022
1 – Nashville, TN – Nashville Municipal Auditorium
3 – Orlando, FL – Hard Rock Live
4 – Miami, FL – James L Knight Center
18 – Los Angeles, CA – YouTube Theater
21 – Phoenix, AZ – Arizona Federal Theatre
23 – San Francisco, CA – Bill Graham Civic Auditorium

NOVEMBER 2022
8 – Amsterdam, Netherlands – AFAS Live
9 – Berlin, Germany – Max-Schmeling Halle
10 – Hamburg, Germany – Sporthalle
12 – London, UK – Eventim Apollo
14 – Paris, France – Zenith
15 – Brussels, Belgium – Palais 12
17 – Barcelona, Spain – Sant Jordi Club

Meanwhile, Lil Nas X has said his new album is “close to finished” when responding to a fan about new music on social media.

Watch Sharon Van Etten’s thunderous performance of ‘Mistakes’ on ‘Colbert’

Sharon Van Etten was the musical guest on The Late Show with Stephen Colbert last night (May 20) – watch her perform ‘Mistakes’ below.

  • READ MORE: Sharon Van Etten on the cover: “I have to be hopeful. I’m a mother and I want to be brave for my son”

The track is taken from Van Etten’s sixth studio album ‘We’ve Been Going About This All Wrong’, which came out earlier this month (May 6), and she also recently shared an official video for the track, which saw her wandering around her old haunts in Brooklyn.

For the Colbert performance, Van Etten was joined by a four-piece band for a thunderous and impassioned rendition of the new single.

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Watch the performance below.

Reviewing ‘We’ve Been Going About This All Wrong’, NME said that ‘Mistakes’ is “Van Etten at her best, its thumping chorus ideal for banishing lockdown-induced rumination on your regrets: “Every time I make a mistake / Turns out it’s great”. Around a quarter of the album reaches these heights – see the swirling coda of ‘Home To Me’, on which she tackles the conflict between creativity and parenthood. Although it lacks the immediacy of 2018’s hookier ‘Remind Me Tomorrow’, this unyielding record is, at times, a powerful reckoning with the age of uncertainty.”

Last month, Van Etten appeared on the cover of NME and discussed her experience filming The OA, saying she felt like an “imposter” on set.

The singer-songwriter played Rachel DeGrasso in the Netflix series created by Brit Marling and Zal Batmanglij. While there were plans for a five-season story, the show was cancelled after two seasons in 2019.

Speaking to NME about her time in the series, Van Etten had some reservations about her performance. “It was a challenge to take on a role like that, and I feel very lucky to have worked with Brit and Zal – they’re very adventurous in the kind of work they produce.

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“I was constantly insecure, and I knew I was the imposter. So as lucky as I felt that the show wanted me to be part of it, I was also quietly relieved I didn’t have to do it anymore. I’m sorry to the fans but I just felt like I was going to be found out… I didn’t know what I was doing!”

Van Etten is set to tour North America alongside Angel Olsen and Julien Baker this summer on ‘The Wild Hearts Tour’.

Ed O’Brien reflects on 25 years of Radiohead’s ‘OK Computer’: “It was a magical time”

Radiohead‘s Ed O’Brien has reflected on 25 years of the band’s iconic 1997 album ‘OK Computer’.

  • READ MORE: ‘OK Computer’: 50 geeky facts about Radiohead’s iconic 1997 album

The album celebrates its birthday today (May 21), and O’Brien took to Instagram to share his memories of creating the album, as well as the legacy it has left.

“So.. today is apparently the 25th anniversary of OK Computer’s release,” O’Brien wrote alongside a photo of a London Underground train.

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OK a few thoughts in no particular order..” he went on. “Wow… feels like an age away.. 1997 belonged to a different era .. we were just kids.. with unswerving focus and drive .. no partying just the desire to make better and better work.. it was fucking exciting .. people seemed to get what we were doing and the gigs were getting more powerful .. we were absorbing so much more music outside of our alternative guitar thing.. bitches brew.. what’s going on.. in a silent way.. pet sounds .. Scott Walker… Underworld .. Massive Attack… Portishead …it was pretty DIY ..

“We built our own mobile studio and co produced the album with Nigel Godrich .. he did a beautiful job .. think it was his first production work .. we knew he was the one….. we sought inspiring places to record rather than conventional recording studios.. one space was nicknamed canned applause… it was literally inside a vast metal box for storing apples .. one was the magical St Catherine’s Court owned by Jane Seymour .. and it was a magical time.”

O’Brien then discussed how the band met late Foo Fighters drummer Taylor Hawkins in 1996, when they opened for Alanis Morissette on tour, who Hawkins was drumming for at the time.

“Thank you Alanis for choosing us to open for her, that allowed us to play all these songs that would become OKC..” he wrote. “That’s where we first met the light that was Taylor Hawkins.. although we knew we were on to something we had no idea what it would become .. how could you? ..even now listening today to some of the talk on the radio, I’m truly overwhelmed and still surprised.. we were on one side of it and couldn’t really comprehend the public side of it .. then there was Glastonbury … dreams coming true .. darkness also.. you think these things will fix you .. they don’t .. that work comes later .. everything put on hold to get these songs out…

O’Brien concluded: “So grateful, thankful for the people we had around us at the time .. management, crew, our Parlophone and Capitol labels.. we were a family .. no cliché.. we were and we all busted a gut and put our heart and soul into it … still do..”

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A post shared by Ed O'Brien (@eobofficial)

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In a second post, O’Brien added: “Thank you to each and every one of you who has joined us on that journey .. we are ALL a part of it.. and thank you as always to my Brothers, Philip, Colin, Jonny and Thom .. All love.”

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A post shared by Ed O'Brien (@eobofficial)

Radiohead’s last studio album came in 2016 with ‘A Moon Shaped Pool’, while 2021 saw the band release ‘KID A MNESIA’, a triple album celebrating their ‘Kid A’ and ‘Amnesiac’ records, along with a third disc of rarities and B-sides called ‘Kid Amnesiae’.

The band’s Thom Yorke and Jonny Greenwood – alongside Sons of Kemet drummer Tom Skinner – have also formed a new band called The Smile, who released their debut album, ‘A Light For Attracting Attention’ last week and began their debut European tour on Monday (May 16), debuting a new song called ‘Friend Of A Friend’.

After making their live debut at Glastonbury’s Live At Worthy Farm livestream last summer, The Smile played their first proper live shows with a three-gig run within 12 hours at London’s Magazine venue last month.

Reviewing The Smile’s ‘A Light For Attracting Attention’, NME wrote: “While there’s not a sound or direction on the record that would shock any longtime followers of Yorke or Radiohead, it was clearly made with a free spirit and energy that the pressure of the infamously tortured and laborious task of creating another monolith from The Radiohead Machine might not allow them.

“In cutting some new shapes, this supergroup have been set loose to make some of the most arresting and satisfying music of their careers. Christ, it sounds like they’re having fun – or, at least, as much fun as can be had in trading in this kind of jazzed-up misery.”

Pusha T on Kanye West: “Ye and I are very different people”

Pusha T has talked about working with Kanye West and how different they are from one another.

  • READ MORE: Pusha T: “I’ve won the wars. I have withstood everything”

In an interview for NME’s most recent Big Read, the Virginia rapper talked about the creative and personal differences between him and Ye. The rapper worked with Ye’s G.O.O.D Music as a signed artist before becoming the label’s President.

“Ye and I are very different people,” Pusha told NME. “The only thing we have in common is our love of street rap. He’s a huge fan and I’m the DNA of that. We’re really parallel on it. I feel like everything else is a debate because we’re just very different people.”

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“He’s very emotional and I am way more calculated than him,” he continued. “So, music is never the debate; it’s the strategy that is the debate with us all day long. His superpower is his instinct, so when that’s your superpower, the shit works the majority of the time.”

Pusha added: “My superpower is my calculated, methodical fucking way of going about things, being able to sit back and withstand whatever before I strike.”

NME Cover 2022 Pusha T

Elsewhere in the interview, Pusha discussed working with West on his seminal album ‘My Beautiful Dark Twisted Fantasy’. Famously, during those sessions, Kanye forced every one of his collaborators to create multiple versions of their contributions. Pusha says, he was asked to rewrite his verse on ‘Runaway’ several times, placing him in uncharted territory.

“I’m somebody who’s married to what I do,” he said. “I had never been into that type of process until I got with Ye. I saw that sometimes greater things come out of it and once you get that vein, you’ve replaced that initial line with something that’s even better and then you begin to outdo what you already thought was great.”

Pusha added: “The only problem with that is sometimes you get in your way and you fuck up your own timelines, but it’s a good process.”

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Earlier this month, the rap legend commented on a supposed beef between himself and Eminem, explaining it is a “misinterpretation”.

“I saw just recently on Twitter people saying myself and Eminem,” he said. “I’m like, bro! It was a misinterpretation of something I don’t even remember. Something I said or whatever. But you know, people decode, and they have their own thing.”

Watch Paris Jackson pay homage to Nirvana with new single ‘Lighthouse’

Paris Jackson has released a new ’90s rock inspired track called ‘Lighthouse’ – you can watch the video for the song below.

  • READ MORE: Paris Jackson – ‘Wilted’ review: enthralling, inconsistent and, at times, excellent

Inspired by Nirvana’s iconic music video for ‘Sliver’, Jackson pays homage to the grunge band in her version of the clip, at one point even featuring a photo of Kurt Cobain.

“I continued to write about this same old heartbreak that [2020 debut album] ‘Wilted’ is about,” she said, connecting the dots between her debut album and her latest track. “A lot of the new songs coming out are similar stories about the same person and heartbreak. I guess I’m just exploring different feelings. ‘Wilted’ was a more melancholy record, and now I’m exploring more of the anger.”

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In ‘Lighthouse’, Jackson sings “I can feel the lights go low, but I don’t wanna let go now, maybe if I turn around you’ll see me, and what you used to be,” over powerful distorted guitar riffs.

‘Lighthouse’ follows Jackson’s EP, ‘The Lost’ which was released in February. The three-track project included a collaboration with Caamp called ‘Lost’, as well as solo offerings ‘Breathe Again’ and ‘Never Going Back Again.’ Last year, she released collaborations with Manchester Orchestra as well as a song called, ‘Low Key In Love’ with The Struts.

Back in January, Jackson said she would be open to collaborating with her aunt Janet Jackson. “We haven’t talked about it, but I’m not opposed to it,” she said . “I love collaborating with all kinds of artists. The genre doesn’t really turn me off, doesn’t matter what genre it is. I can’t say that I see myself doing trap music anytime in the near future, but I’m open to everything.”

In 2020, she released her debut solo album ‘Wilted’, which NME called “a collection of 11 intimate songs that’ll fit like your favourite sweater.”

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