album

The Latin Recording Academy has added even more names to its already star-studded lineup of artists slated to perform at the 26th Latin Grammy Awards, which will be held Nov. 13.

Among the acts announced are album of the year nominee Bad Bunny, breakout Argentine duo Ca7riel & Paco Amoroso, song of the year nominee Karol G and San Bernardino-based música mexicana powerhouse group Fuerza Regida

Also added to the performers list was Mexican musical icon Marco Antonio Solís and Puerto Rican band Chuwi, who was featured on Bad Bunny’s latest album, “Debí Tirar Más Fotos.”

Next week’s show will mark the first time Bad Bunny has performed on the Latin Grammy stage since 2021, when he sang “Maldita Pobreza” from his 2020 album “El Último Tour Del Mundo.” It also will be the first time that Fuerza Regida and Ca7riel & Paco Amoroso perform on the Latin Grammy stage.

Album of the year nominee Rauw Alejandro, legendary rocker Carlos Santana, ranchero/mariachi album nominee Christian Nodal and country darling Kacey Musgraves were among the acts previously announced as performers at the Las Vegas awards show.

Other artists slated to take the stage at the show’s 26th iteration include 22-time Latin Grammy winner Alejandro Sanz; the Argentine singer Nathy Peluso; Tejano band Grupo Frontera; former best new artist winner Joaquina and Venezuelan singer-songwriter Elena Rose.

Additional artists set to perform at the MGM Grand Garden Arena are música Mexicana acts Carín León, Pepe Aguilar and Los Tigres del Norte; sad sierreño singer-songwriters Iván Cornejo and DannyLux; Latin pop icon Gloria Estefan and Colombian rock band Morat.

This year’s list of top nominees include Bad Bunny (12), Edgar Barrera (10), Ca7riel & Paco Amoroso (10), Rafa Arcaute (eight), Natalia Lafourcade (eight) and Federico Vindver (eight).

Bad Bunny’s 12 nominations this year will bring his total career nods to 52. With her eight nominations this year, Lafourcade looks to bolster her collection of 18 trophies from the awards show — the most wins for any female artist.

Nabbing eight more nominations, Edgar Barrera continues to pad his stats as the awards show’s most nominated person of all time with 72 nods, along with 24 wins. Spanish artist Alejandro Sanz received four nods this year, which brings his career total to 51.

This month’s show will be the debut of the new Visual Media field and its new category, Music For Visual Media, which will honor scores for film and television. Also added to this year’s awards is the category for best roots song.

HER sixth album Brat topped the charts and won her five Brit Awards, but Charli XCX feared her label was going to drop her over it because it is so out there.

In a new interview, she explained: “I think when I was making it, I wasn’t thinking about the response at all.

“I actually made this record being like, ‘OK, I’m just going to do this one for me.

“And maybe I’m going to get dropped by my label and that’s fine’.

“That was kind of the headspace that I was in.

“There’s a lot of luck with timing and the way that culture is moving.

TAKING SWIPES

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“I think when I released this record, it’s like people were wanting something that felt very real and messy.

“And I think that’s just the way that culture was swinging.”

Charli previously suggested she was going to have a lengthy break from music following the success of the record, released in June last year, but she has now teased that she’s working on “inherently different” tracks.

The Guess singer continued: “I’m really interested to see what comes next in pop culture, especially in the music space, what people are ­craving.

“I really like to work in contrast. I think whatever I do next will just inherently be different to Brat because that’s what feels natural.

“I’m exploring a lot of stuff with strings at the moment, which I’m really enjoying and I haven’t really worked in that space before.”

And with a series of movies on the way — including Faces Of Death and I Want Your Sex, Charli said she is committed to becoming an actress.

Speaking to Gwyneth Paltrow on her Goop podcast, she said: “I’ve been making music since I was 14.

“And don’t get me wrong, I love making music, but I think there was just a point where I was kind of like, OK, I really need to exercise my creativity in a different way.

“I don’t actually really listen to that much music ever. I never really have.

“But what I am doing is I’m always watching films.”

And Charli also reflected on the prospect of starting a family, having mused on her indecision about ­becoming a mother on her song I Think About It All The Time, which was on the Brat album.

The Brit, who wed The 1975 drummer George Daniel in July, said: “There is, I think, still a bit of stigma perhaps around women who don’t really want to have ­children, you know, and I think for me it’s like I’m always swinging between the two.

“Right now, I’m on the side of, like, actually I’m not sure that that is for me, but that could go back.”

BENSON BACK

BENSON BOONE shook off illness and returned to the stage for a killer sold-out show at London’s O2 Arena.

The American singer had to cancel his gig in Birmingham on Saturday after struggling with his voice but he was on song on Monday when he sailed through tracks including Sorry I’m Here For Someone Else, Young American Heart and Mr Electric Blue along with a cover of Coldplay‘s Sparks.

Welcoming out his friend and photographer McLean Long to the stage armed with a T-shirt cannon, Benson said: “Every night I sing one song that is a cover song.

“I love this song very much, so we’re going to have a friend come out and help us figure out which song we’re singing.”

Another poignant moment in the evening came when Benson performed In The Stars, which he wrote as a tribute to his great-grandmother who died aged 96.

Benson said: “I think the loveliest thing about this song is this is a song about me, about my life.

“My experiences, somebody that I know, something I felt, something I went through, but when you listen to it it’s no longer about me, it’s about you.”

RITA’S A PINK LADY

THERE was no missing Rita Ora in this pink dress at the Music Industry Trusts Awards, but it was Jessie J who stole the show with an amazing rendition of Whitney Houston‘s I Have Nothing.

Speaking at the ceremony on Monday night, Jessie referenced her breast cancer diagnosis and said: “This is one of my favourite songs to sing. There is no hiding in this song. It’s very exposing.

“This year has changed my whole world – my perspective, what battles I’m going to pick.

“You know, death comes knocking at your door and you kind of dance and f***ing kick it away.

“It just changes everything.

““I will say this, I don’t care how old you are or how long you have been doing this, enjoy your f***ing life.

“Be kind to each other.”

Ashley Tabor-King, founder of Global Media, whose radio stations include Heart and Capital, was honoured on the night, with video messages from Ed Sheeran and Taylor Swift.

Rita flew in especially from Los Angeles to perform, and Olly Murs was there for a night out after becoming a dad for a second time.

“Albert is nine weeks old now,” Olly said.

“Another one next year? We are happy with two at the moment.

“Who knows, in a few years’ time we will see.

“I have got time next year to spend a bit more time with the family.

“It has been a busy few years.”

KATY HAS A POP AT BLOOM

KATY PERRY is returning with a new single tomorrow and it sounds as though it will hint heavily at her split from Orlando Bloom.

The Roar singer announced the track Bandaids last night, following a tricky year which saw her break-up with the English actor after almost a decade, and start dating ex-Canadian PM Justin Trudeau.

Insiders have claimed she worked on it with top writer and producer Cirkut, who worked on her No1s Part Of Me and Roar, as well as Greg Kurstin, who co-wrote Adele’s heartbreak singles Hello and Easy On Me.

Last night, Katy played the latest show on her Lifetimes tour in Paris, ahead of the end of the 91-show jaunt next month.

I’M imploring the BBC to put cash behind another series of Daisy May Cooper‘s brilliant TV series This Country.

Daisy told Fearne Cotton on her Happy Place podcast: “It’s difficult and we get asked all the time.

“If we got paid enough to do another series, we’d f***ing do it but that’s all it comes down to.”

Tim Davie, sort it out.

OASIS GET ONE OVER TOUTS DOWN UNDER

OASIS have scored another victory over the vile ticket touts – this time in Australia.

Thanks to the Major Events law in Victoria, ­scalpers were shut out of their three sold-out shows there.

The rules in the Australian state means that anyone flogging tickets for more than ten per cent above face value at an event ­protected by the Major Events Act faces a fine of up to £270,000.

In a statement, Noel and Liam Gallagher‘s management team told me: “It’s great to see Victoria’s Major Events declaration doing exactly what it’s meant to – Viagogo can’t list our Melbourne shows – and that’s a huge win for real fans.

“When government and the live industry work together, we can stop large-scale scalping in its tracks.

“We’d love to see other states follow Victoria’s lead so fans everywhere get a fair go.”

The success of the law means that the 180,000 tickets sold for the shows in Victoria went to genuine fans for the right price.

The brothers will play two more shows in Australia this week, with back-to-back sold-out gigs in Sydney on Friday and Saturday, before they take their Oasis Live 25 tour to South America.

COLDPLAY OFF TO CHURCH

IF you missed out on Coldplay tickets earlier this summer then fear not.

The band’s Chris Martin and Jonny Buckland have announced a one-off, intimate show on Wednesday, December 3, in aid of War Child and Crisis.

But it will be even harder to get in than catching one of their ten nights at Wembley, as it will take place at Hackney Church in East London, with a public ballot for 150 pairs of tickets is now open online.

Last year Chris and Jonny’s Hackney Church performance raised £350,000 for charity.

I’m sure kind-hearted fans will dig deep again this year.

ED-ING WHERE IT BEGAN

ED SHEERAN headed back to Dublin for a special ­concert to celebrate his songs which had clocked up more than one billion streams.

And he had plenty to pick from, with the star performing hits including Thinking Out Loud, Castle On The Hill, I See Fire and Galway Girl.

The gig saw the 2,000 fans packed into Industries Hall at the Royal Society Dublin going wild – and I got to join them after my lovely friends at Spotify flew me out on Monday.

Speaking at his Billions Club Live set, Ed said: “The reason I wanted to do it in Dublin is this is the place where I decided I wanted to be a singer- songwriter when I was a kid.

“It’s a special place for me with my family but it’s also a ­special place for me musically.

“I feel like this is where it all began.”

Ed also used his time on stage to remind the crowd that he last headlined Glastonbury back in 2017, which makes me think he’s a sure-fire bet to return to Worthy Farm in 2027 to ­mark ten years.

Watch this space.

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TRAFFIC CARNAGE

Major motorway shut with TWO-HOUR delays after crash between lorry & van

ARIANA GRANDE was forced to miss the world premiere of Wicked: For Good in Brazil last night after a safety issue with her private jet.

She was on board her plane to fly to Sao Paulo yesterday but had to get off when a fault was found, leaving her “beyond devastated” because there was no other way to make the journey in time.

Rapper RBX has sued Spotify, alleging that the Swedish audio company has failed to stop the artificial inflation of music streams for artists like Drake and is hurting the revenue other rights holders receive through the platform.

RBX, whose real name is Eric Dwayne Collins, is seeking a class-action status and damages and restitution from Spotify. RBX, along with other rights holders, receive payment based on how often their music is streamed on Spotify, according to the lawsuit, filed in U.S. District Court in L.A. on Sunday.

Spotify pays rights holders a percentage of revenue based on the total streams attributed to them compared with total volume of streams for all songs, the lawsuit said.

The Long Beach-based rapper said that rights holders are losing money on Spotify because streams of some artists are being artificially inflated through bots powered by automated software, even though the use of such bots is prohibited on the platform, according to the lawsuit.

For example, the lawsuit notes that over a four-day period in 2024 there were at least 250,000 streams of Drake’s “No Face” song that appeared to originate in Turkey, but “were falsely geomapped through the coordinated use of VPNs to the United Kingdom in attempt to obscure their origins.”

Spotify knew or should have known “with reasonable diligence, that fraudulent activities were occurring on its platform,” states the lawsuit, describing the streamer’s policies to root out fraud as “window dressing.”

Spotify declined to comment on the pending litigation but said it “in no way benefits from the industry-wide challenge of artificial streaming.”

“We heavily invest in always-improving, best-in-class systems to combat it and safeguard artist payouts with strong protections like removing fake streams, withholding royalties, and charging penalties,” Spotify said in a statement.

Last year, a U.S. producer was accused of stealing $10 million from streaming services and Spotify said it was able to limit the theft on its platform to $60,000, touting it as evidence that its systems are working.

The platform is also making efforts to push back against AI-generated music that is made without artists’ permission. In September, Spotify announced it had removed more than 75 million AI-generated “spammy” music tracks from its platform over the last 12 months.

A representative for Drake did not immediately return a request for comment.

RBX is known for his work on Dr. Dre’s 1992 album “The Chronic” and Snoop Dogg’s 1993 album “Doggystyle.” He has multiple solo albums and has collaborated with artists including on Eminem’s “The Marshall Mathers LP” and Kris Kross’ “Da Bomb.” RBX is Snoop Dogg’s cousin.

Artificial intelligence continues to change the way that the entertainment industry operates, affecting everything from film and TV production to music. In the music industry, companies have sued AI startups, accusing the businesses of taking copyrighted music to train AI models.

At the same time, some music artists have embraced AI, using the technology to test bold ideas in music videos and in their songs.

There’s no shortage of bands commemorating their glory days as decade anniversaries of albums fly by. Yet few landmark releases feel not only fresh but forward-thinking 20 years after they were recorded. My Morning Jacket stumbled onto this kind of brilliance in October 2004 when it released its fourth studio album “Z.” Across 10 tracks of lush, euphoria-driven rock ‘n’ roll, the band captured a notable tone shift in its sound that melded Southern rock, haunting folk, psychedelic soul laced with jam band energy. It’s a set of songs that still make up a huge chunk of the bands live show. In September the band performed the album in its entirety to a sold-out Hollywood Palladium for its 20th anniversary.

“We still play these songs all the time,” said frontman and principal songwriter Jim James in a recent conversation. “So it’s not like we broke up after we released ‘Z’ and then we got back together 20 years later to play these songs, and it’s such a trip. We’ve been playing them nonstop for 20 years.”

Shortly after the release of its 10th studio album “is,” the band put out a deluxe reissue of “Z” that includes four B-sides and a whole album’s worth of demo versions of songs like “Wordless Chorus,” “Off the Record” and Dodante. Recently James spoke to The Times about the enduring power of “Z” and the joy of going back to the beginning of the album’s origins to give himself and his fans a new appreciation for the groundbreaking sound the band created.

The rerelease of “Z” was prefaced earlier this year with a full-album show at the Palladium. What was it like revisiting the album on stage first before it came out (again) on vinyl and streaming?

This is our fourth album now to hit the 20-year mark. So we’ve got some experience now doing these album shows. And it’s funny because some of the earlier albums we don’t play all the songs from them so we had to go back and relearn a lot of songs. But the songs from “Z” we pretty much play all the songs all the time. So it’s pretty hilarious how it involved no effort. It just involved playing them in that order of the sequence of the album. But we kind of laughed about that. We’re like, man, we don’t really even have to do any research or anything. We were all kind of reflecting just on how grateful we are that we like playing all the songs still. It’s such a great feeling to play songs for 20 years and never really get tired of them. People still want to hear them and there’s still excitement there, and they still feel fresh. It’s really a beautiful thing.

This was your first album using an outside producer. What was that like for you as the songwriter to step in the studio with John Leckie to help you realize your vision with “Z”?

It was so great, because I really needed somebody who could work with me and not let our egos clash too much. John was just really great about coming in and respecting what I wanted to do, but also voicing his opinion and what he liked and what he didn’t like and when he thought we could do better. And it was just really so refreshing and so good for us to have him there. I mean, his track record speaks for itself, he’s somebody who you can trust right off the bat, just because of all the things they’ve done in the past. He’s such a soft-spoken gentleman but he also has this hilarious, brutal honesty about him, which was always really great.

Your lineup had also changed between the previous album “It Still Moves” and “Z” — adding keyboard player Bo Koster and guitarist Carl Broemel who are still in the band today. So was that like stepping in the studio with the “new guys” for the first time?

It was really nerve-racking and really exciting all at once. We had some touring experience under our belt with Bo and Carl, so we kind of knew that it was working out on that level, but we’d never really recorded before, so it was a real test for all of us. And I think we all knew that. So everybody brought their A game to the session and we took it really seriously, but we also had a lot of fun and just really kind of got to know each other. That was good to do that out in the middle of nowhere, out there in the Catskills, up at the studio. It gave us some time to really bond without a lot of the real-world stuff coming in or other people coming in. So I think that was really important, that we did it that way.

Do you remember what song came out of the sessions first?

“It Beats 4 U” was the first one, because that was one we had already played live before we started recording. So I think that was the first song that we started messing with. But I think they all were kind of coming to life around the same time. So by the time we got in there to start unpacking them, I had already written them and kind of made the demos of them and stuff.

It’s great that you included so many demo versions of your songs on this rerelease. What was the process like of locating these, sifting through and sequencing which ones you wanted to put on the album?

Well, I love demos for a lot of my favorite bands — I love it when I get to hear the demos from the albums. So I’m always saving all that stuff; with my own stuff I’m always compiling all the demos, because that’s half the fun to me. Because sometimes you get this just like a beautiful glimpse into the song. Quite often, I end up liking the demo more than I like the actual album, song because you get a whole, whole new view of it. It’s also interesting when you’re sequencing for vinyl, because you don’t have unlimited time so you kind of got to pick and choose, and that kind of forces you to just choose the best. There’s a whole other round of band demos and then there were my demos, so there were a lot of things to choose from. But it kind of helps me to look at it in vinyl format. There’s still something about the vinyl time limit that helps with quality control. Just kind of pick the ones that I feel are most effective and then try and make a fun sequence so that hopefully, if somebody’s into them, it’s kind of like you get a bonus album that you can listen to.

We had four true songs, B-sides, that we really love too, that weren’t demos. So that was really nice to finally get those out, because those had been on different soundtracks. And then one wasn’t even released. So I don’t think that those weren’t even on streaming or anything for years and years. So it’s really cool to have those out kind of everywhere now, because I’ve always liked all those songs and been proud of those songs too. And I think most bands know the feeling of you know when you make a record. Sometimes songs just don’t fit the record, even if you still love the songs.

MMJ during the “Z” era.

(Sam Erickson)

Were you playing any of those live at the point where you released the album the first round, or did you shelve them for later?

We’ve always played “Where to Begin” live — off and on. We’ve also tried “Chills” a couple times, and I think we did “How Could I Know” a couple times. We’ve never played “The Devil’s Peanut Butter,” we kinda forgot that one existed until this whole [album rerelease] process started, and I found that song again. So we’ll probably play that one somewhere out on the next leg.

Was this process something that you enjoy doing, like, in terms of your how to, sort of like, reexamine an album?

I really love it because I just feel so grateful that anybody even gives a s–, you know? I mean, so there’s that part of me that’s just so grateful to even still be in the game, talking about this. But beyond that, it’s really cool for me because it’s like jumping in a time machine and going back and looking at that point in my life and getting perspective on where I am now, and seeing how I’ve grown and asking “where have I changed? Where have I not changed?” I look back and with all of these albums as they come up to this 20-year mark, and I see I’ve always been really mean and hard on myself, on Jim, but I know that Jim was doing the best he could at each time. That’s the one thing I’ve always kind of been able to see, to get myself through, to not be too hard on myself. I know I was giving it everything I had, so whether I would change things about it as I am today or not — we all look back on the past, and maybe there’s things we’d do differently, but it gives me a lot of comfort to know that I was trying as hard as I could, and all the guys in the band were trying as hard as they could. It really makes me feel proud of us for just putting in the time and effort.

It isn’t crazy: Carly Rae Jepsen is expecting her first child with husband Cole M.G.N.

The Canadian singer-songwriter announced her pregnancy Monday in an Instagram post, sharing a few black-and-white photos of the couple and Jepsen’s baby bump that hint there may be some kicking going on.

“Oh hi baby,” Jepsen, 39, wrote in the caption along with a heart emoji. Her 40-year-old husband, whose full name is Cole Marsden Greif-Neill, is feeling so much love and excitement that he has been rendered speechless, if the multiple heart-eyes emojis are any indication.

According to the couple’s wedding spread in Vogue, Jepsen and the Grammy Award-winning producer tied the knot in October, and the couple had been trying to get pregnant while planning their New York wedding. The musicians first met as colleagues in 2021 and started dating in 2022 before getting getting engaged in September of last year.

In 2023, Jepsen told People that their first collaboration, the song “So Right” from her album “The Loveliest Time,” was in essence the couple’s “meet-cute.”

“This is our first little baby out in the world,” Jepsen told the outlet at the time. “I think you’ll see a lot more of our collaboration together for future projects.”

Known for her earworm 2012 hit “Call Me Maybe,” Jepsen most recently celebrated the 10th anniversary of the release of “Emotion” with a sold-out show at the Troubadour, where she performed the entirety of the 2015 album.

“‘Emotion’ was like an introduction to my authentic version of what pop music was,” Jepsen said of the LP in 2020. “I was itching to share something different, because I knew that ‘Call Me Maybe’ wasn’t the only color of what I had to offer.”

Damon Albarn has opened up about his emotional journey while recording Gorillaz’ upcoming album.

The singer and his bandmate Jamie Hewlett poured the grief of losing their dads into their ninth record, The Mountain, and Damon revealed he scattered his father’s ashes in India while making the collection.

“Both Jamie and I lost our fathers,” Damon said.

“We did two quite amazing, magical trips to India.

“India is a very interesting place to carry grief, because they have a very positive outlook on death.

“England is just really bad at dealing with death.

“In a way, I think this record is in that tradition of celebrating their lives.

“I did things I’d never done before. I swam in the Ganges in Varanasi.

“I watched the bodies being burnt on the banks of the Ganges.

“In England when we cremate a body we don’t even look at the bodies, it’s covered up immediately and then it’s put in the fire, the little curtains close and that’s it.

“On the banks of the Ganges, every family is there with the body wrapped in a shroud and they’re burnt, and it’s going on everywhere. It goes on 24 hours a day and it’s been going on for thousands of years.

“I took my dad’s ashes there and I cast them in the river. It was very beautiful.”

Indian culture helped shape the record — which will be released in March — with the album’s cover art featuring the title in Devanagari, a script used to write the Indian Sanskrit language.

And this time around the pair will not make their famous, animated music videos and instead are creating a one-off production.

Damon added: “We’re making a full eight-minute thing.

“This is why there are no videos at the moment, because it’s serious stuff. It’s really great that Jamie is concentrating on doing one animated thing.

“It’s a big amount of work, any animation. It’s kind of our Achilles’ heel because no other band has to spend that kind of time just to produce one small thing.

“So let’s make it a piece of art in itself and not really rely on it for the promotional aspect of things and let it breathe in its own way.

“I think fans are going to love every aspect of this record.”

OASIS FLARE-UP

Liam Gallagher lets rip at fan who fired flare into crowd during Oasis gig

TYLA’S MUSSEL BOUND

Tyla goes braless at Glamour Awards before delivering powerful speech

Personally, I cannot wait.

Jen’s perfect pairing

Jennifer Lawrence put on her poshest frock to party in the Big Apple after promoting her new film, Die My Love.

The Hunger Games star appears alongside Robert Pattinson in the black comedy, out this Friday.

And the pair coordinated their outfits for the New York premiere at the AMC Lincoln Square Theater.

J-Law then changed into a blue gown before heading out for a night on the town with her pals.

The actress has a busy few months coming up. She is starring in and producing upcoming murder-mystery movie The Wives, before kicking off a new project with legendary director Martin Scorsese and Leonardo DiCaprio.

Jen and Leo are set to play the leads in a terrifying film adaptation of Peter Cameron’s ghost story, What Happens at Night.

She did the chart double last month but Olivia Dean is keeping her feet firmly on the ground.

The singer scored No1s with her album The Art of Loving and single Man I Need, becoming the first British solo female artist to top both charts simultaneously since Adele in 2021.

Asked whether she’s let her success go to her head, she said: “I don’t think so. I feel like I try really hard and think all the time about not becoming a p***k. That would just be horrible.

“I’ve met some and it’s just like, ‘Oh no, it got to you’.”

On how success depends on the people around you, Olivia continued: “A lot of people work really, really hard. It’s really important to recognise that yes, you’ve worked on your skill or your craft, but all the people around you had to believe in it and be there to make it happen as well.

“It takes a village of people to make an album or do a campaign. There’s a lot that people don’t see.”

It sounds like Olivia has a lot of goals in the future, though – including headlining Glastonbury and releasing an album of standards.

On the And The Writer Is… with Ross Golan podcast, Olivia was also asked if she had written a musical yet.

She said: “No, but I would like to in the future. It’s definitely on the bucket list for me.”

Time to say ’ello to Eli

Hot prospect Eli released debut album Stage Girl at the weekend, jam-packed with infectious melodies.

It looks like her label, RCA Records – also home to Britney Spears, P!nk and Shakira – has unearthed another gem.

But her collection of tunes also features references to a battle with her identity, which the American singer has now overcome.

In an exclusive interview, Eli, who is a trans woman, said of her album: “It was made in a flow state.

“But that was after a year or two of complete wits’ end, last straw, end of the rope, repressing everything under the sun as a human being for 20 years of my life.

“I was just like, ‘I need this joy and I need this super-extravagant pop’.”

Part of her journey of discovery is related to listeners in album highlights Girl of Your Dreams and Falsetto, and Eli now hopes that her music will help people to accept those in the queer community.

She explained: “I like the idea that this is going to play in Walmart in Kansas, for the lady who thinks I’m the spawn of Satan.

“And she’s going to be like, ‘Wow, this song is so good’.

“I feel like there is a sort of trickle-down effect of awareness of my humanity and trans humanity in general.”

Eli is already feeling the love following her album release – Mark Ronson, Demi Lovato and Zara Larsson have all voiced their support and her fan base is growing and growing.

Eli added: “I feel so excited by the community I’m existing in in LA right now.

“I feel like everyone is so supportive of each other.

“And it’s so refreshing and so cool.”

Dazzled by Doja

Doja Cat looked a true member of the glitterati as she joined A-listers for a night out.

The rapper sported a sparkly orange dress at the LACMA Art+Film Gala in Los Angeles and completed the ensemble with a curly blonde wig in a nod to Marilyn Monroe.

This is not the first time she has gained inspiration from the Hollywood legend. At the 2022 Grammys, she wore a custom-made crystal Versace gown – which took 475 hours to make.

Doja attended the fundraising bash alongside a host of stars, including actresses Demi Moore, Salma Hayek and Cynthia Erivo all of whom dazzled in their ’fits.

Keep sparkling, ladies.

Robyn’s return so sexi

Singer Robyn is planning to drop a new single in the next few weeks, then her ninth album in 2026.

It is seven years since the Swedish-born star put out her last collection, Honey, and an industry insider tells me the new one, with alluring title Sexistential, promises to be bigger and better than ever before.

They said: “Robyn has spent years working on this music and has been really inspired by loads of up-and-coming artists.

“She has worked with some very cool people and all the stops are being pulled out for this to be her biggest record in decades.”

Robyn has joined Gracie Abrams and Charli XCX on stage for surprise performances over the past year.

But by the sounds of it, next year she will likely be performing plenty of big gigs of her own.

Cat Burns opens up about losing her grandad and breaking up with a long-time girlfriend on her new album How to Be Human.

The singer and Celebrity Traitors star told The Sunday Times’ Style mag: “While grieving, a quote that stood out to me was: ‘Grief is just love with no place to go’. That helped guide the message of the album.”

A Brum deal for Benson

Benson Boone is due back on stage tonight at London’s O2 Arena after he was forced to cancel his Birmingham show on Saturday.

The Beautiful Things singer, who is on his American Heart World Tour, told fans he wouldn’t have been able to put on the show at the Utilita Arena due to problems with his voice.

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In a statement, he told fans: “Birmingham I am so so sorry but I will not be able to perform. I have tried everything I can to revive my voice, but I cannot give you the show I’d like to be able to give you with the condition of my throat right now.

“I’m working with my team to find a date to reschedule as soon as possible. I promise I will do everything in my power to make it up to you. I love you guys so much.”

We’re sending you our best, Benson, and we hope you can make the show tonight.

STRANGER Things star David Harbour admitted he has “made mistakes” over the last 10 years just WEEKS before ex-wife Lily Allen released her bombshell album.

The couple, who split after a five year marriage in February this year, have had their relationship thrust into the spotlight after Lily’s blistering attack on her marriage on new album, West End Girl.

The 14-track album was dropped last week, but shortly before the release, Harbour briefly spoke about ‘regrets’ while promoting the upcoming final season of Stranger Things.

Talking to Esquire Spain, Harbour was asked to reflect on the past decade of his life in line with how long he has played burly cop Jim Hopper on the show.

He responded by calling it a “hard question” and, while not addressing Lily specifically, he said: “I would change either everything or nothing. 

“You either accept your path completely and realise that even the pain and the slip-ups and the mistakes are all part of the journey, and that there’s truth and growth, wisdom and deeper empathy and connection in all that.”

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“It’s kind of like a house of cards,” he added. “The minute you try to change one thing you kind of have to change it all.”

Ultimately he said he’d change “everything” and “just make his life happy and silly”, though it would “suck” not to be an actor.

West End Girl

On West End Girl, Lily chronicles her relationship with Harbour, starting with their whirlwind relationship after meeting on Raya in 2019 and setting up their life together in New York.

However, she notes things began to unravel after she landed a part in a West End production of 2:22 A Ghost Story, which required her to come back to London.

She then accuses him of getting close to a woman she names “Madeline”, despite them having an “arrangement” for him to sleep with other people.

Mentioning her on the track ‘Tennis’, fans were abuzz with the question: “Who the f**k is Madeline?”

While Lily has said the album, which features alleged dates and supposed voice notes, is a mixture of fact and fiction, the the real life “Madeline” has spoken out, with New Orleans based costume designer Natalie Tippett, 34, claiming to have been involved in the fling.

David and Natalie reportedly began an affair while working on 2021 film We Have A Ghost, despite marrying Lily the previous year in Las Vegas.

He later allegedly flew Natalie to his home in Atlanta, Georgia.

Since the album has been released, Harbour has not commented on the claims on the songs – which took Lily 10 days to make and record.

It’s also unclear where the line between fact and fiction stands on the album.

Despite this, Lily made another dig at her ex – dressing up as cartoon character Madeline for Halloween as she partied with friends in Los Angeles.

The marriage between Arcade Fire’s indie-rocker spouses Win Butler and Régine Chassagne has flamed out.

The longtime collaborators and romantic partners split “after a long and loving marriage,” the Canadian “Reflektor” group announced Thursday in a statement shared on social media. Butler, 45, and Chassagne, 49, married in 2003 and will “continue to love, admire and support each other as they co-parent their son,” the band said.

The Grammy-winning rock group, founded in 2001 and known for songs “The Suburbs” and “Wake Up,” announced the singers’ separation years after several people accused frontman Butler of sexual misconduct in 2022.

Four people came forward about their alleged experiences with Butler in a report published by Pitchfork in August 2022. Three women alleged they were subjected to sexual misconduct between 2016 and 2022 when they were between the ages of 18 and 23. The fourth, gender-fluid accuser alleged Butler sexually assaulted them in 2015 when they were 21 and he was 34.

Amid Pitchfork’s report, Butler denied the misconduct allegations in a statement and said he “had consensual relationships outside my marriage.” Chassagne, who gave birth to her son with Butler in 2013, remained firm in her support for her now-estranged husband in 2022. The “Sprawl II” singer said, “I know what is in his heart, and I know he has never, and would never, touch a woman without her consent and I am certain he never did.”

She added at the time: “He has lost his way and he has found his way back. I love him and love the life we have created together.”

Arcade Fire rose to prominence in the 2000s for its anthemic rock, cementing its place in the Montreal indie scene with its Grammy-winning 2010 album “The Suburbs.” The group has been nominated for 10 Grammy Awards and has played some of music’s biggest stages including the Coachella and Lollapalooza music festivals. The group released its seventh album, “Pink Elephant,” in May.

Thursday’s statement clarified that Butler and Chassagne’s “bond as creative soulmates will endure, as will Arcade Fire.” The estranged spouses will also continue their charity work in addition to caring for their child.

“The band send their love and look forward to seeing you all on tour soon,” the statement said.

Times staff writer Stacy Perman contributed to this report.

A little over a year ago, Madi Diaz lay in bed in an apartment near Dodger Stadium sweating out a gnarly case of COVID-19.

The Nashville-based singer and songwriter had traveled to Los Angeles to record the follow-up to her album “Weird Faith,” which came out in early 2024 and would go on to earn two Grammy nominations, including one for a beautifully bummed-out duet with her friend Kacey Musgraves. But after three or four days of work in the studio, Diaz became sick just as the Dodgers were battling the Mets in last October’s National League Championship Series.

“I could literally see the stadium lights — there were drones everywhere and people honking and lighting things on fire,” she recalls. “I was just like, Why, L.A. — why?”

Her suffering in a city she once called home was worth it: “Fatal Optimist,” the LP Diaz eventually completed in time to release this month, is one of 2025’s most gripping — a bravely stripped-down set of songs about heartbreak and renewal arranged for little more than Diaz’s confiding voice and her folky acoustic guitar.

In the album’s opener, “Hope Less,” she wonders how far she might be willing to go to accommodate a lover’s neglect; “Good Liar” examines the self-deception necessary to keep putting up with it. Yet Diaz also thinks through the harm she’s doled out, as in “Flirting” (“I can’t change what happened, the moment was just what it was / Nothing to me, something to you”).

And then there’s the gutting “Heavy Metal,” in which she acknowledges that enduring the pain of a breakup has prepared her to deal with the inevitability of the next one.

“This record is me facing myself and going, ‘I have to stay in my body for this entire song,’ ” Diaz, 39, says on a recent afternoon during a return trip to L.A.

What makes the unguardedness of the music even more remarkable is that “Fatal Optimist” comes more than a decade and a half into a twisty-turny career that might’ve left Diaz more leathered than she sounds here.

Beyond making her own albums — “Fatal Optimist” is her sixth since she moved to Nashville in 2008 — she’s written songs for commercials and TV shows and for other artists including Maren Morris and Little Big Town; she’s sung backup for Miranda Lambert and Parker McCollum and even played guitar in Harry Styles’ band on tour in 2023.

Yet in a tender new song like “Feel Something,” about longing to “be someone who doesn’t know your middle name,” Diaz’s singing reveals every bruise.

“Music is a life force for Madi,” says Bethany Cosentino, the Best Coast frontwoman who tapped Diaz as a songwriting partner for her 2023 solo album, “Natural Disaster.” “She has to do it, and it’s so authentic and so real and so raw because it’s not coming from this place of ‘Well, guess I gotta go make another record.’ ”

“If she doesn’t put those emotions somewhere,” Cosentino adds, “I think she’ll implode.”

Which doesn’t mean that putting out a record as vulnerable as “Fatal Optimist” hasn’t felt scary.

“I was gonna say it’s like the emperor’s new clothes,” Diaz says with a laugh over coffee in Griffith Park. “But I know I’m not wearing any clothes.” Dressed in shorts and a denim shirt, her hair tucked beneath a ball cap, she sits at a picnic table outside a café she liked when she lived in L.A. from 2012 to 2017.

“For a second, I was like, Damn, I wish I’d brought my hiking shoes — could’ve gone up to the top,” she says. “I would absolutely have done that as my masochistic 28-year-old self. Hike in the heat of the day? Let’s go.”

Diaz points to a couple of touchstones for her LP’s bare-bones approach, among them Patty Griffin’s “Living With Ghosts” — “a star in Orion’s Belt,” as she puts it — and “obviously Joni Mitchell’s ‘Blue,’ ” she says. “That’s just a duh.”

Like Mitchell, Diaz achieves a clarity of thought in her songs that only intensifies the heartache; also like Mitchell (not to mention Taylor Swift), she can describe a partner’s failings with unsparing precision.

“Some ‘I’m sorry’s’ are so selfish / And you just act like you can’t help it,” she sings in “Why’d You Have to Bring Me Flowers,” one of a handful of what she jokingly calls “folk diss tracks” on “Fatal Optimist.” It goes on: “Bulls— smile, in denial / We’ve been circling the block / We’ve been in a downward spiral.”

“There are definitely a couple songs on this record where I felt apologetic as I was writing it,” she says. “Then when I finished it was just like: It had to be done.” She grins. “They’re tough,” she says of her exes. “They’ll be fine.”

Asked whether any of her songs express her feelings in a way she wasn’t capable of doing with the ex in question, she nods.

“I’d say I could get about halfway there in real life,” she says. “It’s almost like I couldn’t finish the thought within the relationship, and that was the signal that we couldn’t go onward. Or that I couldn’t go onward.”

Has writing about love taught her anything about herself and what she wants?

“I travel a lot — I’m all over the place,” she says. “And I really like to come and go as I please. But it’s funny: In retrospect, I think maybe I was chasing a relationship that was a little more traditional, even though I don’t know if I can actually be that way. So that’s a weird thing to be aware of.”

Madi Diaz in Pasadena.

(Annie Noelker / For The Times)

Diaz grew up home-schooled in a Quaker household in rural Pennsylvania and learned to play piano and guitar when she was young; when she was a teenager, her talent took her to Philadelphia’s Paul Green School of Rock, whose founder was later accused of abuse and sexual misconduct by dozens of former students, including Diaz. (“It was a really toxic place,” she told the New York Times.)

She studied at Berklee College of Music in Boston before dropping out and heading to Nashville, where she started making her name as a singer-songwriter operating at the intersection of country and pop. After a few years of fruitful grinding, she came to L.A. to “see how high the ceiling was,” she says, and quickly fell in with a group of musician friends.

“We used to love going to the Smog Cutter,” she says of the shuttered Silver Lake dive bar, “to have a couple Bud Lights and sing Mariah Carey really poorly.”

Diaz was making money writing songs — Connie Britton sang one of her tunes on the soapy ABC series “Nashville” — but she struggled to achieve the kind of liftoff she was looking for as an artist. “Turned out the ceiling was quite high,” she says now with a laugh.

Along with the professional frustrations came “a nuclear explosion of a breakup” with a fellow songwriter, Teddy Geiger. “They were going through a huge identity shift,” Diaz says of Geiger, who came out as transgender, “and we worked in the same industry, and it just kind of felt like there wasn’t a place for me here.”

Diaz returned to Nashville, which didn’t immediately super-charge her career. “I was bartending at Wilburn Street Tavern and making Jack White nachos,” she recalls. “He would never remember this, but I remember. I was like, This is my life now.”

In fact, her acclaimed 2021 album “History of a Feeling” — with songs inspired by the complicated dynamics of her and Geiger’s split — finally brought the kind of attention she’d been working toward. She signed with the respected indie label Anti- (whose other acts include Waxahatchee and MJ Lenderman) and scored the road gig with Styles after he reached out via DM; she also became an in-demand presence in Nashville’s close-knit songwriting scene.

“I don’t know of anybody in town that doesn’t love Madi,” says Little Big Town’s Karen Fairchild, who adds that Diaz “has instincts about melodies that are all her own. Sometimes I’m thinking, ‘How’s she gonna fit that into the phrasing?’ But she always does.”

For “Fatal Optimist,” Diaz took an initial pass at recording her songs with a full band before deciding they called for the minimalist setup she landed on with her co-producer, Gabe Wax, at his studio in Burbank.

“We did it with no headphones, no click track, no grid,” she says. “It speeds up and slows down, and it goes in and out of tune as instruments do.” (One unlikely sonic inspiration was a singles collection by the pioneering riot grrrl band Bikini Kill, which she hailed for its “still-kind-of-figuring-it-out energy.”)

Diaz describes herself as a perfectionist but says “Fatal Optimist” was about “trying to find our way through the cracks of imperfection to break the ground and sit on the surface. I feel so proud that we let it live there.”

She’s touring behind the album this fall, playing solo shows — including a Nov. 20 date at the Highland Park Ebell Club — meant to preserve the album’s solitary vibe.

“I don’t know if I’d really thought that through when I made the decision,” she says with a laugh.

As good as she is on her own — and for all the torment she knows another relationship is likely to hold — “I’m a die-hard loyalist,” Diaz says. “I’m still looking for connection more than anything else.”

IT’S album release day when I connect with Brandi Carlile at her Seattle home, by video call. 

The US folk-country singer’s ninth album, Returning To Myself, has just been released globally and the smile across her face says it all. 

It’s already been a great year for Carlile, who in April celebrated her first UK No1 album with Who Believes In Angels? — the collaboration with her idol, Sir Elton John. 

She says: “I’m lucky to have new chapters — not everyone gets to have a renewal in their forties. 

“And I’m really excited about it. I want to keep going. I like getting older — that’s my favourite bit of life so far.” 

The singer believes that authenticity has come with age, and that confidence shines through her new music. 

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It’s also her enduring friendship with Sir Elton John that has helped elevate her profile on the international stage.  

She says: “I’m astounded by Elton’s generosity. He could have made an album with anyone — and choosing to make it with me was such a compliment.  

“He’s the most iconic living artist on the planet but what that did for me emotionally is something I try not to put on his shoulders, so that he can exist independent of my expectations of him. 

“But it did a lot for me, because he is my hero and we have a special chemistry as friends.“ 

Returning To Myself is a record that allows Carlile to reconnect with her own emotions and finds her in an introspective mood — and there’s even a solo version of You Without Me, previously a collaboration with Elton John. 

She says: “It’s a song that’s pertinent to my life and age and there’s been a lot of reflection. 

“My career reminds me of what happened in Bonnie Raitt’s career.  

“She’d been making music for a long time, living in vans, in and out of clubs and theatres and playing with all these different bands. Then one thing changed, and suddenly it was on. 

“When it happens to you, you remember how long it took for the phone to ring.  

“Suddenly it’s ringing and you’re just answering and saying yes and wanting to do everything, understanding that it won’t ring one day.  

“I stayed in a cycle of that mentality for many years, just attaching to everyone that ever inspired me. 

“I wanted everything all at once. Then I just hit a wall. My mind and body give me no warnings. They just shut down one day. It meant I should take time off. 

“But what do you do when the songs are coming? You have to listen to that and then take action.” 

The songs were coming like a tap was on, and I can’t turn it off once that happens. I just don’t function — I don’t change my clothes, I don’t sleep, I forget to eat, I’m just a dysfunctional person

Brandi Carlile

On Returning To Me, Carlile teamed up with producer Aaron Dessner of The National — who worked with Taylor Swift.

She also brought in producers Andrew Watt, who she worked with on the Elton John album, and Bon Iver’s Justin Vernon who helped produce the track Human. 

The title track began with a poem Carlile wrote when she was dealing with loneliness while staying at the barn-house guest room at Aaron Dessner’s remote home in upstate New York. 

She says: “It came from a place of contemplation, and my discomfort with aloneness. It’s me asking some existential questions.  

“The songs were coming like a tap was on, and I can’t turn it off once that happens. I just don’t function — I don’t change my clothes, I don’t sleep, I forget to eat, I’m just a dysfunctional person.  

“I wrote one or two out there with Aaron that were really deep and meaningful to me.” 

She adds: “I was at Aaron’s the day after Joni Mitchell played the Hollywood Bowl and I was moved by her triumph there and deep in thought about the journey it took us to get there.” 

Carlile had helped with the esteemed singer’s six-year journey to return to the live stage — her Hollywood Bowl performance was Mitchell’s first full show in 24 years — following a brain aneurysm in 2015 that had left the singer unable to play.

Carlile had been part of a jam band alongside Mitchell, Elton John, Meryl Streep, Annie Lennox, Marcus Mumford and more. 

Carlile had first met the legendary singer at her 75th birthday tribute concert in 2018, then began organising monthly music evenings, called Joni Jams, at her Bel-Air house.

Elton, Sir Paul McCartney, Bonnie Raitt and Harry Styles all joined in encouraging her return to singing. 

She says: “It wasn’t getting through to her about how much she was loved and it bothered me. It nagged at me. If only she knew what Lana Del Rey says about you. If she knew that Gracie Abrams had her lyrics tattooed on her arm.  

“She is so important to multiple generations of not just women, but all people, and so I got to have the passenger seat to watching that reality wash over Joni as she pulled herself into recovery from her aneurysm.  

“I get too much credit for what happened with Joni as she got herself back on stage and retaught herself how to use those instruments.  

On Returning To Myself, Joni is one of the standout songs, which pays homage to her heroine.

She says: “Writing a song about her, I couldn’t be sappy because she’s not going to like that.

“Joni has got a great sense of humour. She’s wildly intelligent but I wanted to point out the most profound things about her. I also wanted to show how wild she is and how much she loves a party because she is fun. 

 “She’s such a reverential character and people have so much respect for that. Some people see her as stern, and I wanted to address that in a tongue-in-cheek way in the song in a way that she would understand, yeah, and she really did understand.” 

 Carlile believes her work with both Elton John and Joni Mitchell has been life-changing. She says: “It’s everything when you’re growing up and when you get to meet the people that you’ve had on your bedroom walls. 

 “It’s more than music. I get how important it is to work with these people because I am a f***ing fan. That’s why I champion women in music. When young musicians come up to me and say I inspire them too, I get that as I am still a fan.” 

Returning To Myself is a different sound for Carlile — it’s stripped back and self-assured.  

She says with a laugh: “When I was younger, I would scream all the time. I was yelling and singing open-chested and I’d tell myself that when I got older, I was never going to be quiet — I was going to stay punk-rock.  

‘Oppressive ideology’ 

“And to a certain extent, I stand by that, but sometimes the lyrics you write don’t ask that. They asked for it on the song Church And State, and at the end of Human, but they don’t ask for it anywhere else on the album.

“It just wouldn’t do justice to the poetry, so I just didn’t do it. That’s not to say I won’t do it again.” 

Evangeline, our oldest, asked could we move to Canada if the United States overturned gay marriage. But Elijah, our youngest, is worried she won’t have a Mommy or a Mama — which we are called

The politically inspired Church And State is a powerful song born out of frustration and anger about US President Donald Trump and his challenges to American institutions. 

She says: “Activism is important to me and important enough to never dilute it.  

“That song is about the separation of the church and state and how important that is to me and my family.  

“We are not living in a theocracy. There’s no wisdom creating laws and building walls based on a subjective interpretation of someone else’s faith.  

“You can’t use so-called Christian values to enable an oppressive ideology. As a person of faith myself, I can tell you I feel as protective of my faith against the state as I do a quasi-secular person living in the United States.” 

A mother of two daughters with her wife, Catherine, Carlile admits recent events have scared her kids.  

She says: “I read this morning that the Supreme Court in the US is going to consider a case which would overturn marriage equality in November.

“It’s something I’ve been afraid of for a long time, since [former Associate Justice of the Supreme Court] Ruth Bader Ginsburg died [in 2020]. 

“I’ve been afraid of us going backward on that sentiment. 

“It’s not me and my life that it concerns. I’ve been talking to my wife about this for a long time — and our kids listen to like everything.  

“Evangeline, our oldest, asked could we move to Canada if the United States overturned gay marriage. But Elijah, our youngest, is worried she won’t have a Mommy or a Mama — which we are called. She’s worried she won’t have parents — and it made me so angry.” 

Carlile also joined forces with Elton John for a joint HIV/Aids campaign earlier this year to try to offset the Trump administration’s cuts to HIV/Aids- related funding. 

She says: “It’s desperately important to Elton and [husband] David [Furnish] that it’s not pushed from the sphere of public awareness and we’re able to continue to educate and alleviate the suffering of people.

“And that’s how I found Elton John as an 11-year-old, as I wrote a book report on a young boy who had died of Aids.

“I had already canonised the man as a saint, but because of this report I went to the library and checked out a CD with his song Skyline Pigeon on it because this man had played at this kid’s funeral. 

“It was a full-circle moment that later I was able to lend my activism to the person who inspired me to start it.” 

Carlile will have a small break for Christmas before kicking off her tour early next year.  

She says with a laugh: “I hope the tickets sell. I don’t know how to switch off. I want to be cool and say, ‘I don’t read reviews, I don’t watch the tickets’. But no, I’m going to be sitting there digesting my stomach lining. 

“I just want to get out and play. I love this album and am going to play it from start to finish, and I’ve got all these ideas for covers.  

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“I’ve got a world-class band and so next year is going to be another big year for me — and I’m loving it all.” 

• Returning To Myself is out now

BRANDI CARLILE 

Returning To Myself

★★★★☆

What is there left to know about Paul McCartney in 2025? Actually, quite a bit. The octogenarian megastar is seemingly ever-present, popping up on social media feeds with his affable avuncularity, his relentlessly sunny, two thumbs up ‘tude. Yet despite the steady trickle of Beatles scholarship that continues to be published, including Ian Leslie’s insightful book, “John & Paul: A Love Story in Songs,” earlier this year, McCartney is a cipher, a blank page. He has masterfully created the illusion of transparency, yet his life remains stubbornly opaque. Does the man ever lose his temper? Has he ever cheated on his taxes? If there is a chink in McCartney’s armor, we are still looking for it.

Denny Laine, Paul McCartney, Linda McCartney and Denny Seiwell in Osterley Park, London, in 1971.

(Barry Lategan / MPL Communications )

Yet according to this new book, an oral history of McCartney’s band Wings, there is still much to be excavated from what is the most examined life in pop music history, especially when it comes from the horse’s mouth. The book is ostensibly “authored” by McCartney even though it is an oral history that has been edited by Ted Widmer, an estimable historian and a former speechwriter for Bill Clinton. Widmer has also written third-person interstitial information to guide the reader through the story.

Stitching together interviews with McCartney, his wife Linda, erstwhile Beatles, and the various musicians and other key players who found themselves pulled into the Wings orbit across the nearly decadelong tenure of the band, “Wings: The Story of a Band on the Run” is a smooth, frictionless ride across the arc of McCartney’s ’70s career, when he continued to mint more hits, and secured a lock on a massive career that is presently in its 55th year.

Joe English, Jimmy McCulloch, Linda McCartney, Paul McCartney and Denny Laine in 1976.

(Clive Arrowsmith / MPL Communications)

Hard as it is to fathom, McCartney has had pangs of doubt concerning his art and career, never more so than in the immediate aftermath of the Beatles’ breakup in 1970, when he found himself at loose ends, unsure of how to follow up the most spectacular first act in show business history. In the immediate aftermath of that epochal event, McCartney retreated to a 183-acre sheep farm on the Kintyre Peninsula in Argyllshire, Scotland, with his wife Linda and their young family. According to the book, there was uncertainty about his ability to write songs that could stand alongside his Beatles work. Hence, his first solo offering, “McCartney,” was mostly tentative, half-baked notions for songs, interlaced with a few fully realized compositions like “Maybe I’m Amazed,” all recorded by McCartney in his home studio.

Home recording sessions for the McCartney album in London, 1970.

( Linda McCartney / © 1970 Paul McCartney under exclusive licence to MPL Archive LLP)

But the gentleman farmer couldn’t stay down on the farm for long. Eventually, the old impulse to be in a band and to perform became McCartney’s new imperative, but he would go about it in an entirely different way. No more camping out in Abbey Road studios, the Beatles’ favorite laboratory, hiring out string sections and horn sections, ruminating over tracks for as long as it took. McCartney would instead take an incremental DIY approach, starting modestly and progressing accordingly. Instead of meticulously recording tracks, records would be dashed off spontaneously. Bob Dylan became a kind of North Star for how to approach a record: “Bob Dylan had done an album in a week,” says McCartney in the book. “I thought, ‘That’s a good idea.’’’

Paul McCartney, Wings Over the World tour, Philadelphia, 1976.

(Robert Ellis / MPL Communications)

It was around this time that McCartney hired Denny Laine, who became (aside from wife Linda) the only full-time member of Wings for the duration of the band’s life. The two had met years earlier, when the Beatles were partying in Birmingham with Laine and his band the Diplomats. “Truth be told, I needed a John,” McCartney admits in the book. The first Wings album, “Wild Life,” recorded in a barn on McCartney’s Scotland farm, was critically savaged, but listening to it now, it retains a certain homespun charm, the amiable slumming of a master musician tinkering with various approaches because he can and because it’s fun. A short tour of universities around the U.K. further contributed to the low-key vibe that McCartney was intent on maintaining; he was waiting for the right time to pounce on the American market, specifically, and reclaim his mantle as the King of Pop.

1973’s “Band on the Run” would be the album that cracked it wide open again for McCartney, but he was still in a rambling mood, this time eager to try one of EMI’s studios in Lagos, Nigeria. “It wasn’t the sort of paradise we thought it would be,” McCartney is quoted in the book, “but it didn’t matter, because we were basically spending a lot of time in the studio.” Once in Africa, Paul, Linda and Denny Laine were mugged, their tapes stolen. Another night, they were guests of the master afrobeat musician Fela Kuti, who invited the three to his Afrika Shrine club for an indelible performance: “It hit me so hard,” says Paul. “It was like boom, and I’ve never heard anything as good, ever, before or since.”

McCartney II recording sessions, Lower Gate Farm, Sussex, 1979.

(Linda McCartney / © 1979 Paul McCartney under exclusive licence to MPL Archive)

“Band on the Run” became an international smash and McCartney once again found himself playing arenas and stadiums with yet another iteration of Wings. It is also at this point that the story of Wings settles into a more of an “album-tour-album” narrative, save for a harrowing drug bust for pot in Japan on the eve of a Wings tour in January 1980, when McCartney spent nine days in jail. “I had all this really good grass, excellent stuff,” explains McCartney, who had cavalierly packed it in his suitcase. Once in jail he had to “share a bath with a bloke who was in for murder,” organizing “singsongs with other prisoners” until his lawyers arranged for his release. The bust would presage the dissolution of Wings; McCartney would release a solo album, “McCartney II,” in May.

Paul McCartney, Linda McCartney, Denny Seiwell and Denny Laine. Promotional photo shoot for “Wild Life,” 1971.

(Barry Lategan / © 1971 MPL Communications)

How you feel about the albums that Wings made after 1975’s excellent “Venus and Mars” will perhaps affect your judgment of the back half of “Wings: The Story of a Band on the Run.” But even a charitable fan will have a hard time making a strong claim for the albums that followed 1975’s “Venus and Mars,” which includes “London Town,” “At the Speed of Sound” and “Back to the Egg.” The book’s best stuff is to be found at the start, when the superstar was making his first baby steps toward renewed relevance, and then found it.

Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”

For the first time in seven years, Lily Allen is back with a new album. It’s intimate, raw and autofictional.

Last week, the “Smile” singer shared a 14-track breakup record, “West End Girl.” Amid her split with “Stranger Things” actor David Harbour, Allen provides an in-depth look into a broken relationship where the line between being open and being unfaithful is thin, where dating apps are on the table and where heartbreak seems inevitable.

The album, which was written in 10 days last December, begins with Allen’s move to New York. The singer relocated to the East Coast in 2020 with her two daughters and then-husband, following the couple’s whirlwind wedding in Las Vegas. When Allen started dating Harbour in 2019, she had just finalized her divorce from Sam Cooper, with whom she shares her children.

On “West End Girl’s” opening track, she sings about receiving an offer to be in a West End production in London. In 2021, Allen made her debut in the supernatural play “2:22 — A Ghost Story.” From that moment on, tensions and distance only continued to build between the pair. Toward the end of the title track, Allen includes her end of a call where her partner is seemingly asking to open up the marriage.

As the pop melodies continue to ebb and flow, Allen reveals accusations of infidelity, the complications of being in an open marriage and mentions a pseudonym for a mistress on a track named “Madeline.” She doesn’t stray away from details, especially when it comes to finding boxes of sex toys, love letters from other women and calling her partner a “sex addict” on “P— Palace.”

By the end of the record, she makes it clear that the relationship is irreparable. The pair announced their separation last February after four years of marriage. Since the project’s release last Friday, critics have been quick to fawn over Allen’s return to music and Allen has been sure to let the press know the album is not fully based in fact.

In an interview with The Times, the U.K.’s oldest national daily newspaper, she says, “I don’t think I could say it’s all true — I have artistic license. … But yes, there are definitely things I experienced within my relationship that have ended up on this album.”

She similarly told Perfect Magazine that the work can be considered “autofiction” and that an “alter ego” is singing. When sitting down with British Vogue, she clarified that the album is inspired by what went on in the relationship between, but “that’s not to say that it’s all gospel,”

Harbour has yet to directly speak out about their relationship and has strayed away from the public eye, disabling comments on his Instagram page.

In an interview with GQ in April, he said, “There’s no use in that form of engaging [with tabloid news] because it’s all based on hysterical hyperbole.”

The highly anticipated final season of Netflix’s “Stranger Things,” where Harbour plays the role of police chief Jim Hopper, will be released Nov. 27.

Jack DeJohnette, the prolific and versatile jazz drummer who played with Sonny Rollins, Herbie Hancock, Pat Metheny, Charles Lloyd, Bill Evans, Freddie Hubbard and Miles Davis — including on Davis’ groundbreaking 1970 album “Bitches Brew,” which helped kick off the jazz fusion era — died Sunday. He was 83.

His death was announced in a post on Instagram, which said he died at a hospital in Kingston, N.Y., near his home in Woodstock. DeJohnette’s wife, Lydia, told NPR the cause was congestive heart failure.

As a member of Davis’ band in the late ’60s and early ’70s — a group that also counted Chick Corea, Wayne Shorter, Keith Jarrett and Billy Cobham among its members — DeJohnette pumped out psychedelic rock and funk rhythms that put Davis’ music in conversation with that of artists like James Brown and Sly Stone. In addition to “Bitches Brew,” which was inducted this year into the Library of Congress’ National Recording Registry, DeJohnette played on Davis’ “At Fillmore,” “Live-Evil” and “On the Corner” albums, the last of which was panned by critics when it came out but now is regarded as a jazz-funk landmark.

DeJohnette won two Grammy Awards on six nominations; in 2012, he was named a Jazz Master by the National Endowment of the Arts.

Living Colour’s Vernon Reid, who played on DeJohnette’s 1992 album “Music for the Fifth World,” called DeJohnette “the GOAT” on social media on Monday and wrote that his “influence & importance to Jazz, and contemporary improvised music can not be overstated.”

DeJohnette was born Aug. 9, 1942, in Chicago. Encouraged by an uncle who worked as a jazz radio DJ, he learned to play piano as a child and went on to play with Sun Ra as he circulated among the forward-looking artists of Chicago’s Assn. for the Advancement of Creative Musicians. He moved to New York in the mid-’60s and joined Charles Lloyd’s quartet before collaborating with Evans and then with Davis.

“We couldn’t wait to play,” he said of his tenure in Davis’ band in a 1990 interview with The Times. “Miles developed our talents by allowing us to progress naturally, having us play his music and accept the responsibility that goes with discipline and freedom. He learned from us, and we learned from him.”

After leaving Davis’ band, DeJohnette continued collaborating with Jarrett, the influential pianist; the two formed a long-running group known as the Standards Trio with the bassist Gary Peacock that focused on material from the Great American Songbook. The drummer also led the bands New Directions and Special Edition and formed groups with Ravi Coltrane and with John Scofield.

In 2016, he released “Return,” a solo-piano album that served as a sequel of sorts to 1985’s “The Jack DeJohnette Piano Album.” According to the New York Times, DeJohnette’s survivors include his wife, who also managed his career, and their two daughters.

LILY Allen was stopped awkwardly in her tracks as she was asked “Who is Madeline?” following the release of her bombshell new album.

On the LP, West End Girl, Lily, 40, accuses her ex David Harbour, 50, of infidelity with someone called Madeline – though she has stressed the record is a combination of fact and fiction.

Following its release, the real life Madeline spoke out, with New Orleans based costume designer Natalie Tippett, 34, claiming to have been involved in the fling.

In a new interview with Perfect magazine, Lily was put on the spot and asked to name the title of her songs as the interviewer read lyrics in a dramatic style.

It was a trip down memory lane, with Lily correctly answering Not Fair, The Kooks’ Naive, Cheryl Tweedy, Friday Night and Pussy Palace.

She was then asked directly: “Who the f**k is Madeline?”

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Pop star Lily, who was sitting on a toilet in a glamorous mini dress embellished with a large bow, momentarily hesitated before saying “erm that’s Tennis”.

On the track, which documents her discovering that her man’s connection with another woman is deeper than just sex, Lily sings: “So I read your text, and now I regret it. I can’t get my head ’round how you’ve been playing tennis.

“If it was just sex, I wouldn’t be jealous. You won’t play with me. And who’s Madeline?”

It has been put in the same lane as Dolly Parton classic Jolene, which sees the country star plead with an attractive woman not to steal her man, and Beyoncé’s Sorry, in which she takes aim at ‘Becky with the good hair’ after husband Jay-Z admitted to being unfaithful.

Stranger Things star David and Natalie reportedly began an affair while working on 2021 film We Have A Ghost, and he later allegedly flew Natalie to his home in Atlanta, Georgia.

He had married Lily the previous year in a Las Vegas ceremony.

Speaking from her home in New Orleans’ historic Treme district, Natalie told Daily Mail she was the woman behind “Madeline”.

When approached by Daily Mail, Natalie said: “Of course I’ve heard the song.

“But I have a family and things to protect.

“I have a two-and-a-half-year-old daughter, and I understand this is going on.

“It’s a little bit scary for me.”

The affair reportedly came to light when Lily found an incriminating text on David’s phone.

The discovery inspired several tracks on her new album, which details betrayal and heartbreak.

Natalie declined to discuss the lyrics further, saying: “Yeah… I just don’t feel comfortable talking about it at the moment.”

The Sun has contacted Lily and David’s reps for comment.

Lily and David announced their split in January after four years of marriage.

It is understood they separated in December, with Lily spending Christmas alone with her children in Kenya.

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The LDN hitmaker was previously married to Sam Cooper from 2011-2018, although the relationship was understood to have crumbled some time before they made their split official.

With Sam, Lily had two children, 13 year old Ethel and Marnie Rose, 11

LILY Allen and David Harbour are selling their Brooklyn townhouse just days after her new album and are set to make millions in profit.

The stunning property has hit the market for a whopping $8 million (around £6m) after the pair bought it for just $3.3 million (£2.5m) in 2020.

The 19th-century townhouse only went on sale yesterday – two days after Lily, 40, released her breakup album which has been branded her “revenge” album by fans.

Lily and Stranger Things star David, 50, split in December and it was later reported he’d had a three-year affair. 

David had even made a shock “cheating” joke while doing a tour of their New York City home two years prior.

Lily and David bought the property under two separate trusts as co-owners, according to documents seen by The U.S. Sun, and made several renovations worth thousands.

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Lying at the heart of Brooklyn and spread across four levels, the house has five bedrooms and four bathrooms interspersed throughout.

The property listing eloquently describes the home as a “layered narrative of traditional English charm, modern Brooklyn sensibilities and rich Italian influence”.

The main level opens out into an exotic living room wrapped in high-end Zuber wallpaper and “detailed crown mouldings”.

With a fireplace at its centre, the room is framed by glass doors that lead to a private backyard with a sauna and cold plunge at the owner’s disposal.

The kitchen is described as spacious with “plain English cabinetry” and houses a huge island as well as a custom-built banquette beneath is windows with natural light flooding the room.

Walk upstairs and you’ll find another sitting area with a fireplace as well as dual walk-in closets alongside the main bedroom.

There are two well-equipped guest bedrooms on the third floor as well as a skylit lounge and a home office.

There’s an additional guest suite on the garden level too with a powder room and casual living room, another fireplace and access to the backyard.

And a fully-furnished basement see’s a gym, ample storage and closet areas as well as a laundry room.

The pair took out a big mortgage on the house which they first purchased on November 16 2020 for $3.35 million.

The loan is listed for $2,512,500 with City National Bank in 2021, and they had until February 1, 2051 to pay it back.

They made extensive renovation on the property filing several building permits, many for tens of thousands, with the most expensive being for $282,600 and $265,600 for general construction.

Lily had moved to New York to start a new life with the US actor, who she wed in 2020 a year after meeting on celebrity dating app Raya.

But five years later, one local resident said: “It appears no one has been home for quite some time”

“Every house on the street has Halloween decorations, but not Lily and David’s”

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“It’s a very family-friendly neighbourhood, Lily was very active in the community when she lived here with David.”

The Smile singer has now moved back to London with her two daughters from her first marriage.

On the night of September 24, 2025, Hollis Frazier-Herndon performed an acoustic rendition of his song “Eldest Child” for a sold-out crowd at USC’s Shrine Auditorium. During his croon of the lyrics, “Eldest child, eldest child, I know your momma and your daddy so goddamn proud. They don’t know me, no. They don’t know me now,” the artist known as 2hollis went from a fractured growl to a sweet silky falsetto to a full collapse into tears.

It was a moment of raw catharsis as well as a culmination. During a pre-show interview backstage, Hollis revealed the hidden meaning behind the lyrics. He said the figurative “momma and daddy” are actually his fans, whose expectations he’s glad he’s fulfilled, even though they “don’t actually know each other” in real life. Thus, a sold-out crowd enthusiastically singing back at him evoked an emotional release. In tandem with that though, is the fact that this was 2hollis’ first show in his hometown since his Altadena childhood house burned down in the January 2025 fires. The embrace from his extended community after he persevered through that tragedy and continued to ascend to musical stardom was palpable.

“I’m at a place now where I feel like, in a way, it’s sort of a phoenix situation,” Hollis said about his post-fire rise from the ashes. “The whole town burned down. It was terrible and insane. But it weirdly felt like that needed to happen [to make the new album what it is]. I don’t know, it’s hard seeing somewhere you grew up just be a deserted place.”

On the day before the release of his fourth album, “star,” in April, 2hollis posted a picture of a burnt-edged tarot card with the same title. He added a message explaining that the star card was the only thing he and his mother found intact when they returned to Altadena to assess the damage. It was also later reported by 032c Magazine that atop a tall hill behind Hollis’ family property existed a wooden and metal star statue filled with lightbulbs that would glow at night. That star, which Hollis and his childhood friends would hike up to, also burned. The album “star,” 2hollis’ best version of his signature crystalline hardstyle EDM, meets grimy rage trap, meets velvet emo pop punk, emerged directly and impactfully from the remains of the roaring flames.

At the end of the full throttle album opener “flash,” Hollis said he added recorded sounds of the wind chimes from his Altadena home porch, triggered by the Santa Ana winds in the lead up to the fire. You can also hear faint gusts and flame sounds emerge sparsely throughout the project. He let the weather itself dictate the type of immersive experience the album could be, even as it also chronicles his layered chase for notoriety and glory.

“There are a lot of self-reflective moments, and it is very personal and emotional, but it’s also like one big party,” he explained. “I feel like, in a f—ed up kind of way, that’s what a fire is, too. It’s so big and full of visceral anger and emotion and almost a sad kind of wave. But then, also, it’s lit.”

2hollis is a visual thinker, thus he envisions scenes and uses optical inspiration to craft his imaginative rave-like soundscapes. Grammy-winning producer Finneas, during a recent interview with Spotify, recalled a time in the studio with 2hollis when he described a sound he was trying to capture as “a crystal with a pretty face on it.” This is a regular practice. Backstage, he described the process of juxtaposing an RL Grime-esque intense trap drop with a synth piano inspired by the movement and presence of a porcelain Chinese lucky cat he kept in his bedroom studio at the Altadena house. This was for his song “burn” from “star,” a scorcher which also happened to be the last song recorded in his home before the flames hit.

For 2hollis’ most openly psyche’d song on the album, “tell me,” where he professes lyrics like, “Everybody I don’t know tryna know me these days I don’t even know who I am,” his mental visual for the ending electro drop is illuminating. “I always imagined heavy rain there and lightning shining on someone’s face,” Hollis said about a perhaps heroic moment linked to the fire. “And it’s also like a face-off. Maybe me versus my ego on a rainy war field at the end of ‘Squid Game.’”

2hollis often creates outlandish alternate worlds he hopes to thrust his listening audience into. “I think there’s become this thing with a lot of artists where they feel the need to be relatable,” he proclaimed questioningly. “That’s cool, but I want [to present] the fantasy of, ‘Let me listen and pretend I’m not me for a few minutes.” In a time of constantly looming shaky ground, Hollis presents escapism as mindful.

2hollis

(Sandra Jamaleddine)

2hollis, at times, appears in tandem with a white tiger. The animal bears the name of his first album and appears on stage at his shows as a large figurine that roars vehemently behind him during song transitions. As much as it feels a part of his fantastical sonic world, it is also deeply tied to his personal story.

On a follow-up call from backstage at a later show in Detroit, Hollis recalled a period of debilitating psychosis he experienced at 18 years old. He mediated and prayed to Archangels as an attempt to pull himself back together. When he invoked the spirit of the Angel Metatron, he would picture a white tiger destroying all the darkness and “demonic shit” around him. “It was wild and sounds insane, but it really helped me come out of it,” he said.

The more one speaks to Hollis, the more one realizes he embodies the Shakespearean line “All the world’s a stage.” Even in the most wholesome times in his life, as a little league baseball player and school theater kid, he would get a similar “butterfly in the stomach feeling” from the performance of it all. But by that same token, he is also someone who values solitude and garnered his appreciation for it from Altadena itself.

Hollis describes it as a place of “untouched, unscathed innocence.” A place where he could walk his dog up to the star behind his home, meditate, and look at the city of LA in the distance. “I go back there all the time even though there’s nothing there anymore,” Hollis said from Detroit about his home’s unending pull. “It’s just comforting to be there by myself. The energy that was there before didn’t die.”

That far-gone youthful time alone is where Hollis dreamed of the world he’s in now. He said, if he could, he’d say to that wide-eyed yet apprehensive kid, “Dude, you’re doing it, you were right, you knew. Now it’s beautifully harmoniously coming together.” On “tell me” 2hollis raps that he’s equal parts scared of “press,” “death,” and “judgment.” But now, with overwhelming chaos in his rearview, he proclaims, “I’m running headfirst into everything. I’m not dying. I’m not scared of sh—.”

2hollis performs at Shrine Auditorium on Monday.

Every night before going to bed, Ela Minus shuts off her phone.

Oftentimes, the Colombian artist-producer won’t even turn it back on until the following afternoon. One day, in mid-September, when Minus logged on, she received an unexpected flurry of messages from both close friends and people she hadn’t spoken to in years. Each notification was congratulatory, but Minus had no idea what had transpired the night before.

It turns out the Latin Grammy nominations had been announced — and her song “QQQQ,” off her 2025 sophomore album, “Día,” was nominated for Latin electronic music performance.

“I was very confused. Nobody said what was going on in their messages. They were just telling me congratulations,” says Minus, who laughs about the moment over our Zoom call. She dialed in from Mexico City, a few hours before catching a flight to Italy to kick off a new leg of her “Día” tour.

“As soon as I figured out that I was nominated, I turned my phone off again. I needed a second to myself. To be completely honest, it was not even a little bit in my radar. I didn’t even know we submitted anything.”

Since its release last January, “Día” has left lasting impressions on critics and fans alike. In 10 synth-powered tracks, Minus channels her fluctuating emotional state as she navigated a period of reckoning — characterized by a life almost entirely lived in airplanes, hotel rooms and foreign studios — through ominous synthesizer chords and blasts of vigorous dance beats.

Much like her music, her path to Latin Grammy-worthy acclaim has been anything but linear.

“It’s not like I started singing on television, and now I’m at the Latin Grammys. It’s been an interesting path of continuous surprises and unexpected turns,” says Minus. “Not to praise myself, but every time I’ve taken an unexpected turn or been presented with it, something amazing comes out of it.”

“Every time I’m in L.A. for a longer period of time, I feel like I retire into myself more. Staying downtown too, felt very aggressive, yet familiar to me,” says Minus, of how L.A. influenced her latest record.

(Alvaro Ariso)

Minus was born as Gabriela Jimeno Caldas, in Bogotá, Colombia. She got her start in music as a drummer in a local punk band called Ratón Pérez, which she joined at the age of 12. Her percussion skills led to her leaving Colombia to attend the Berklee College of Music, where she double majored in jazz drumming and music synthesis. At school, she was introduced to hardware and software synths, and continued to explore her drumming abilities by experimenting with electronica.

After working as a touring drummer and helping design synth software, Minus’ solo career started to take off with the release of her 2020 debut album, “acts of rebellion.” She created the entire project by herself, from the depths of her at-home studio in Brooklyn. Composed of icy club beats and steadfast synthetics, she describes the album as “sonically concise,” in that she intentionally used limited instrumentation.

When approaching her 2025 follow-up record, she says that she yearned to pick up new instruments, switch up the process and hopefully end up with an entirely different result.

In a sudden turn of events, her rent in New York quadrupled because of COVID-19 inflation rates, and she had to leave the city. She says her life quickly became a “mess.” But her next steps were clear as ever — instead of settling into a new apartment, she took on a nomadic lifestyle, with making new music as her only goal.

“I wanted to start and finish a record in the moment, while all of this is happening, and when I’m feeling this way,” says Minus, who says she was feeling a self-imposed artistic pressure. “I figured I could postpone my personal life out of wanting to make this record.”

Over the course of six months, she hopped from city to city, living out of her suitcase and renting recording studios. She ended up in places like London, Mexico City and Seattle. The repetitious process of packing up and settling into new places allowed her to easily decipher which tracks she wanted to keep pushing and which ones she would leave behind.

Along her journey, she lived in downtown Los Angeles for a short period of time. She says she finds the city to be a bit “alienating” with a “uniquely heavy” energy. To her luck, the city’s ethos aligned with the sonic soundscape she was building out in “Día.”

“Every time I’m in L.A. for a longer period of time, I feel like I retire into myself more. Staying downtown too, felt very aggressive, yet familiar to me,” says Minus, who noted the lack of people walking, the amount of traffic in the streets and the boundless nature of Los Angeles.

The album began at a low point in Minus’ life, where she seems to be going through an identity crisis. Over spacey sirens and an accumulating bass line, on “Broken,” she admits to being “a fool / acting all cool” and being on her knees, without a sense of faith. Throughout the first several tracks, she confronts her inner monologue through candid lyrics, offering herself a reality check.

“Producing beats with really low bass lines feels comfortable to me. It makes me want to open up naturally to get to the point of writing lyrics and singing. When the production is more sparse, like with a guitar, it’s harder to write more vulnerably. It feels kinda cheesy,” says Minus.

“In myself, there’s this constant cohabitation of dark and light and aggressive and sweet sounds,” she continues. So when vulnerable feelings come out, the really hardcore, distorted sounds follow.”

Songs like “Idk” and “Abrir Monte” simulate the experience of being submerged as a muffled, yet pounding bass line takes charge. Other times, as in “Idols,” Minus’ dissected blend of club pop and dark ambient sounds lends a grimy, industrial feel to her mechanical melodies. She captures the commonplace (yet cathartic) experience of losing yourself in a sweaty mass of limbs on a dance floor.

The Latin Grammy-nominated track “QQQQ” marks a turning point in the album. It was a song she wrote in a matter of hours to depict her own mindset change. “I was very aware that [for] the first half of the record, there was a lot of tension. I just needed a moment of release for this [album] to land fully. I needed a moment of uncontrollable sobbing on the dance floor.”

The album ends with her resolving to confront her struggles with self-acceptance, with the frankly written “I Want To Be Better” — which escalates with the feverish punk pulse of “Onwards.”

To her, the album is equal parts apocalyptic and hopeful, reflecting both the chaos of the outside world and her newfound inner peace. Since making the record and performing it frequently, she says she’s internalized the lessons she learned along the way. “When you’re going through something, sometimes the only thing you can trust is time. Your perspective will change, maybe for better or for worse.

“Time heals,” adds Minus. “That’s something I learned for sure.”

Ela Minus will be headlining at the Echoplex in Echo Park on Oct. 29.

RAPPER Nelly was accused of taking writer credit on song he didn’t write on his hit albums Country Grammar and Nellyville in a massive $10 million lawsuit. 

The U.S. Sun can exclusively reveal that the Hot In Herre artist was sued in federal court in May after a lawsuit was initially lobbed at him in a local Missouri court in 2024. 

Production company D2 filed an amended complaint against Nelly, 50, in August. 

The suit read “D2 is a production company started in a local community skating rink by twin brothers Darren Stith and David Stith.

“D2 was known for developing producers and talents and giving them an opportunity to further their art and careers.”

The brothers claimed: “They were directly responsible for finding, nurturing, and bringing to the public the music of Nelly and the group known as the ‘St. Lunatics.’”

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St. Lunatics was made up of Nelly, Ali Jones, Torri Harper, Robert Kyjuan Cleveland  and Lavell Webb, aka City Spud.

In the suit, D2 alleged that they had a contract with both Nelly and the St. Lunatics, separately, but that they released the Ride Wit Me rapper from his contract with them in June of 2000, with a $75,000 payment.

D2 claimed that Nelly, in a secret agreement, claimed a writer credit on songs that weren’t written by him, and were actually written with the St. Lunatics, which made it so the artists were able to avoid paying D2 royalties on those songs.

“The Songs, which were included on the Country Grammar and Nellyville albums, sold over twenty million copies.

“D2 was never paid its portion of the revenues that were legally due to D2 under Lunatic Agreements with Harper, Cleveland, and Jones (and then the Publishing Agreement), but went to Nelly instead under the Secret Arrangement,” the suit went on to allege. 

Nelly and the St. Lunatics are being sued by D2 for more than $10,000,000 for breach of contract, fraud, conspiracy and breach of good faith and fair dealing. 

D2 is also suing Nelly specifically for tortious interference, which essentially means the rapper putrposely interfered with D2’s business. 

The suit said the Air Force One’s rapper “intentionally induced, and caused an interruption of D2’s contractual relationship with, and its business expectancy with, Harper, Cleveland, and Jones, by proposing, negotiating, entering into, and implementing the Secret Arrangement.

“Nelly knew or should have known that his actions would interfere with the Lunatic Agreements and cause D2 to lose revenue it was entitled to receive from the Songs pursuant to the Lunatic Agreements, and later, through the Publishing Agreement,” the suit claimed. 

In September, Nelly, along with Cleveland and Harper, attempted to get the suit dismissed. 

The case is ongoing. 

Earlier this week, Nelly’s wife, Ashanti, was seen sporting a bathing suit on a trip to Barbados just after her 45th birthday on October 13.

Nelly was not seen during the outing, though their child, Kareem Kenkaide ‘KK’ Haynes, was with her for the trip.

She and Nelly welcomed their son in July of last year. 

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Recently, Nelly and Ashanti landed their own reality series after splitting up and later reuniting.

The pair dated on and off for 10 years after first getting together in 2003, but thought their 2013 breakup was final.

However, they surprised fans by getting back together a decade later. 

Wasting no time, Nelly and Ashanti tied the knot just three months after making their reunion public. 

The trailer for Nelly & Ashanti: We Belong Together was released ahead of the show’s premiere in June.

Fans quickly took to the comments on the first-look, with one saying, “This is the show I never knew I needed.”

Another wrote: “We’re all rooting for you, Nelly and Ashanti!”

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A third added: “So here for these two being happy and in love.”

The show’s debut came just hours after The Sun exclusively revealed the truth behind rumors that Nelly had cheated on Ashanti.

THIS the stuff of Dreams for millions of fans across the globe and now there’s fresh hope for a Fleetwood Mac reunion.

The group have not performed together since 2019 and they were left devastated when Christine McVie died in 2022.

But I’ve been told that there are serious discussions behind the scenes about a series of projects involving all of the remaining members to celebrate the 50th anniversary of their album Rumours, which is among the best-selling and most critically acclaimed records of all time.

At the centre of the plans is said to be Mick Fleetwood, who is leading peace talks between former couple Stevie Nicks and Lindsey Buckingham, as well as John McVie.

A one-off show, a TV special and a documentary about the making of Rumours are among options being discussed for the 2027 milestone.

And Warner Records is also preparing a special re-release of the album featuring unheard material from the original studio sessions.

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A source close to Mick in the US said: “Fleetwood Mac are discussing new projects and how to mark Rumours’ big 5-0. For certain there is a special edition version of the album coming, which the band and label have been secretly looking at.

“But also there is a significant hope that it is time for the definitive documentary on all the chaos in the studio that created the magic on record.

“John and Christine were divorcing and she was dating their lighting guy. Stevie and Lindsey were over just before she and Mick enjoyed a brief fling. And drugs and booze were everywhere.

“The desire is for everyone to sit down and present their side of events on screen.

“And then of course comes the potential for a stage reunion and concert. That is the goal from Mick.

“Stevie has said it would not feel right being on stage without Christine, but also she and Lindsey are on a healing journey right now, which could be the path to a new show.

“However there is a desire to pay tribute to Christine in some way and a live show around Rumours seems a very fitting way.

“The gig would fill a stadium dozens of times because of the love they command.

“But unless some major shift happens, a tour is unlikely at this stage.”

Aaron Bay-Schuck, co-chairman and CEO of Warner Records confirmed at LA’s City of Hope gala that “some very special” music leftover from the making of Rumours had been found.

He said: “We will do everything in our power to respect that anniversary as long as they’ll let us.”

Last month, Stevie and Lindsey suggested relations had thawed when they reissued their 1973 Buckingham Nicks album.

And in March, Mick admitted: “I always have a fantasy that [Stevie] and Lindsey would pal up a bit more and just say everything’s OK for them both.”

They are beloved by an entirely new generation now thanks to social media, so there will be millions around the globe hoping they can patch things up for one last hurrah.

Aaron Bay-Schuck was at City of Hope’s Spirit of Life gala to celebrate co-chairman and Warner Records COO Tom Corson, who was honoured at the event.

It is the centrepiece of the music, film and entertainment industry’s annual philanthropic campaign and raised nearly $6million.

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Funds from the campaign are fueling leading research and survivorship programs for young adults, including music therapy.

Michael Buble, Cher and members of Linkin Park were among other guests who were there in LA last week.

Pop star Sabrina Carpenter hosted “Saturday Night Live” for the first time ever, but it sure didn’t feel like it.

Carpenter was the musical guest last year when Jake Gyllenhaal hosted, and at the 50th anniversary special, she performed with Paul Simon and appeared in a sketch. Whether it’s because she’s done the show both as a musician and a comedic performer (her song performances are often a mix of both) or not, Carpenter seems perfectly at ease in Studio 8H, like she’s always been there.

That served her well on an episode that started badly with a retread of a sketch that’s been done a few too many times (keyword: Domingo), and a monologue that, despite Carpenter’s charm, didn’t seem to connect with the audience.

But after that, Carpenter’s quicksilver timing and ease, plus a diverse set of sketches, put the episode over the top. She sounded just like a 12-year-old boy in a sketch about preteens hosting a podcast called “Snack Homies” with President Trump (James Austin Johnson) as a guest, sold a provocative neck pillow in a funny Shop TV sketch, performed a pretaped “Grind Song” with Bowen Yang, and was thrown out of a window as the host of a girlboss seminar. She scared a co-worker (Ashley Padilla, quickly becoming a critical “SNL” utility player) on her birthday and played a singing and dancing washing machine alongside new cast member Veronika Slowikowska.

It also didn’t hurt that Carpenter’s two playful and well-sung musical performances, for “Manchild” and “Nobody’s Son,” were showstoppers. Her love of the show was evident: she performed the former wearing a “Live from New York” T-shirt and panties with “It’s Saturday Night!” written on the back.

The best argument for inviting Sabrina Carpenter back sometime might be that she held the show together with no outside guests or surprise cameos, which hasn’t happened on “SNL” in a long time. The only exception was a short film from “Please Don’t Destroy” writer Martin Herlihy at the end of the show that may have been about racism and Frankenstein’s Monsters (yes, plural).

We’ll keep this short because the less said about this week’s cold open the better. Chloe Fineman and Andrew Dismukes returned as Matthew and Kelsey, a couple that has struggled in the past with trust issues from Kelsey’s frequent trips with her friends that usually end with a passionate affair with a guy named Domingo (Marcello Hernández). This time, they’re celebrating Matthew’s 30th birthday, but for some reason, Kelsey has flown in her girlfriends (including Carpenter) to sing some pop songs in bad karaoke style about a recent weekend they spent in Nashville. This time the songs are modeled after Taylor Swift’s “Fate of Ophelia,” Lady Gaga’s “Abracadabra” and Alex Warren’s “Ordinary Song.” The ladies went to Nashville and of course Domingo is still around. “This is strike six,” Matthew cries haplessly. “Babe, it won’t happen again,” Kelsey promises. Let’s hope so. The Domingo sketches need to be put to rest.

Carpenter’s monologue was largely about dispelling (but not really) the notion that the singer is overly sexualized, or as she described it, a “Horndog popster.” “There’s so much more to me,” she said, “I’m not just horny. I’m also turned on.” She made hay of the controversy over her “Man’s Best Friend” album cover by joking that it was cropped and revealing that Bowen Yang and Martin Short both originally appeared on it, with Yang pulling her up by her hair and Short pushing her away from a buffet line. The monologue started to fizzle when Carpenter went to the audience for some interaction to prove she can have chemistry with anyone or anything, only to come back to the stage for an awkward bit with Kenan Thompson, who said he wanted a Cameo video for his niece. Carpenter has charisma to spare, but the monologue was too disjointed to go anywhere.

Best sketch of the night: Does making plans to see “Plans” also scare you?

Mock horror movie trailers have done well on “SNL” lately and the streak continues with “Plans,” a Blumhouse horror film featuring Ben Marshall and Carpenter as a couple horrified to realize that plans they made back on Fourth of July have suddenly come to fruition with a cousin and her husband. As their terror grows, they remember that the cousin (Sarah Sherman) talks about marathons (“The way I see it, losing toenails is a badge of honor”) and the husband (Dismukes) likes to show off 11-minute YouTube videos. They’re going to end up at a crowded ramen restaurant and then a bad interactive play. For anyone who’s ever regretted saying yes to socializing, this might be your worst nightmare.

Also good: The neck pillow monologues

The Shop TV sketches wouldn’t work so well if Padilla and Mikey Day didn’t do such a good job infusing their characters Bev and Rhett with such practiced professional panic when things go awry, as they’ve done before. Carpenter appears as Virginia Duffy, a crafter who’s designed an ergonomic pillow that looks just like a giant vagina, which comes in different colors. “Why would you bring the pink one?” asks an exasperated Rhett. By the time the faux fur lining is added and Rhett tries on the neck pillow, culminating in an unwanted baby sound effect, Shop TV has done it again. Bonus points for Johnson as Tim Tucker, who appears at the beginning of the sketch with a trick-or-treat pail in the shape of Jesus Christ’s head. “Trick or treat, smell my feet, walk with Christ down the Halloween street,” he chants.

‘Weekend Update’ winner: Did you see ‘Saw’? He did not

New cast member Tommy Brennan discussed moving to New York and growing up in Minnesota, but it was the return of Hernandez’s Movie Guy character, who wants to talk about scary movies but has seen absolutely none of them. “Everybody saw ‘Weapons!’ I have to tell you, I was not one of those people,” he says. Movie Guy expresses that horror movies often tell you what they’re about: with “Scream,” “everbody scream!” With “Smile,” “everybody smile!” How about “Saw?” “Everybody saw! But not me, I did not see.” He goes on to touch on why Stewie from “Family Guy,” “Shrek” and others are also scary (even if he hasn’t seen them). “‘One Missed Call’ … is this a movie about my mother?”