album

SINGER Charli XCX shows off her glamorous side as her new album is released.

The Brit hitmaker, 33, shared a photo of her holding a copy of her latest studio album Music, Fashion, Film.

It features cultural icons John Cale, Marc Jacobs and Martin Scorsese on the cover, and comes two years on from Brat.

That album sparked the brat summer phenomenon, celebrating messy, party-loving fun.

Charli, also at home on the red carpet, declared it over in September 2024, posting: “Goodbye forever brat summer.”

Recently Charli got in front of the lens for the music video to her new track Camera.

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It is from her upcoming seventh album Music, Fashion, Film.

Dressed in a plunging blue shirt, Charli filmed a dramatic storyline with French actor Vincent Cassel.

The action-packed scenes looked like they were in a desert but were actually filmed in a quarry in Kent.

Vincent’s character had a gunshot wound to his abdomen.

In footage that could rival a Hollywood blockbuster, Charli stood in front of an overturned grey car that had ploughed into a sand dune, and was also seen crawling on all fours.

The singer took over London’s Scala nightclub on Tuesday for an intimate performance of tracks from her forthcoming album, including Camera.

In the lyrics, she sings: “It makes me question what I’m doing.

“Do I wanna make music? Am I being f*****g stupid. If I try to be a girl on the screen when I’m turning thirty-four?”

KATY PERRY is on tour across Europe and her No1 groupie – former Canadian Prime Minister Justin Trudeau – has been a regular at her shows.

I can reveal he has spent his whole summer following her around on tour, and even brought friends to Europe to spend time on a yacht in between her concerts.

The superstar headlined the famous Isle of MTV concert in Malta on Wednesday — Europe’s largest free concert — and he was there cheering her on.

And we will soon be hearing a lot more from Katy, as I’m told she’s almost completed work on her eighth album, which has been inspired by moving on from long-term partner Orlando Bloom and finding love again with the politician.

That might be a surprise after the recent release of her singles Bandaids and Watch It Burn, which were written early last year and on which she gave Orlando both barrels. But now she’s done with writing break-up songs, telling the Unfamous podcast: “I know the next step I’m going to take.

“Watch It Burn, actually I didn’t need to do a whole EP of this feeling. But I needed to touch it and circle it.

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“And now I’m moving on and I’m going to be writing something that is going to represent what I’m feeling now.

“I have to process it. This is my therapy.

“This is my art.”

Wednesday’s concert attracted a crowd of 30,000 fans to Il-Fosos Square for the 18th year of Isle of MTV Malta, staged in partnership with Malta Tourism Authority.

Justin was seen bopping along to her biggest hits from the lighting tower, and she called out to him three times from the stage.

Before singing I’m His, He’s Mine, Katy, who was wearing a vintage costume she wore for an MTV VMAs advert in 2009, gushed: “I’m gonna dedicate this one to my boyfriend.

“I love when he comes to my shows, it always makes me so happy.

“I love you, baby.”

My insider said: “Katy is the happiest she has ever been now that she’s with Justin and she wants to reflect that in the music.

“The end of her relationship with Orlando was one of the hardest things she’s been through but she doesn’t want to dwell on it with the music.

“It’s about owning who she is and holding her head high.

“Justin feels like her soulmate and it’s been really inspiring for her.

“Most of the new album was recorded at the beginning of the year.

“The title Scorpio Bitch was discussed for the album but that’s likely to change as she doesn’t want to come off as too spiky.

“The album is almost done, she’s really proud of what she’s been working on.”

On stage, she was like an excitable, giddy teenager as she called out to him.

So I imagine it will be her most loved-up record ever.

IF you missed out on the chance to see Katy Perry on tour over the past year, you’ll soon be able to catch up on two of her live shows.

Her huge Isle of MTV Malta show will air on MTV on September 18 – showcasing her Out Of Office summer show, which she also performed at Blenheim Palace and Cardiff Castle earlier this month.

But that’s not all. Katy’s concert film The Lifetimes Tour: Live From Paris – recorded during her previous tour last year – is coming to 150 UK cinemas on September 2.

The two-hour film features footage of her singing her biggest hits as part of one of her most ambitious tours ever, plus there’s exclusive backstage footage included.

The tour reached more than one million fans during 91 shows in 23 countries, and raised almost £82,000 for the Music Venue Trust in the UK.

TOM TO KNOCK ‘EM DREAD

TOM HOLLAND is finally moving forward with his Fred Astaire biopic – but said he’s filled with “dread”.

Five years after revealing he’d be playing the actor and dancer, the Spider-Man star has started rehearsals and is determined to do all the dancing himself.

Speaking on US telly, Tom, who is currently on the promo trail for both The Odyssey and Spider-Man: Brand New Day, said: “What I love about my job is the challenges. We have Fred Astaire next. As soon as I finish these tours, I’m diving back into the dance studio.

“I did my first few rehearsals recently and it both filled me with excitement and absolute dread because I’ve got so much work to do to try to do Fred proud.”

He added he has “a desire to use no doubles” and shoot the dances in one shot as Fred would have done.

K-POP girl group AESPA are hitting up Pinkpantheress in the hope of a collaboration.

WINTER from the group said: “I’d love to work with PinkPantheress. I love the atmosphere she creates in her music. Bringing her style together with aespa’s could lead to something really fresh.”

JOANNE HAS VAPE ESCAPE

JOANNE McNALLY’s stint on Celebrity Traitors almost went up in smoke after she started vaping in the castle.

The comedian admitted puffing on an e-cig during filming, which meant producers had to intervene, as it can’t be shown on air.

She admitted: “I remember we were chatting, having a real deep and meaningful.

“And they cut filming. They’re like, ‘Joanne, you can’t vape in the castle’.

“I was really into this conversation, pulling on this vape. Because you feel relaxed in the castle.”

Asked if she forgot the cameras were there, she told the Bottom’s Up podcast: “Totally. And I always thought that was horses**t when I’d watch Big Brother before.

“I was like, ‘As if you could forget the cameras were there’. But you do, actually.”

I hope it doesn’t lead to her being smoked out when it airs in the autumn.

BURLESQUE The Musical’s UK tour will not open at Woking Theatre tomorrow, with the week-long run being cancelled just 48 hours before it was due to start.

The show starring Corrie’s Faye Brooks, has been plagued with a series of issues and is now scheduled to launch on August 6 at the Sunderland Empire. The London run has been postponed to 2027.

OASIS DOC GETS VENICE PREMIERE

NOEL and Liam Gallagher better dust off their tuxedos as new documentary, OASIS: Don’t Look Back In Anger will get its world premiere at the 83rd Venice International Film Festival.

The brothers, plus writer Steven Knight and directors Will Lovelace and Dylan Southern, are all expected to attend the event which starts on September 2.

Cameras followed Noel and Liam on last year’s worldwide sell-out stadium run, which saw them performing to millions of fans across 41 dates.

The documentary features revealing interviews and the first tentative meeting between the once-warring siblings.

Last year at Venice, docudrama The Voice Of Hind Rajab received the longest standing ovation in the festival’s history – with people clapping for 23 minutes and 50 seconds. Surely, Oasis can beat it.

DESTINY’S CHILD are gearing up to release a new album of unheard remixes, says Beyonce’s dad.

Mathew Knowles, who managed the girl group during their original run, said the project, will feature a collaboration with Missy Elliott. He said: “We have remixes that have never been released and we’ll be putting those out soon.”

Pat McAfee knows just what the world needs in 2026.

More Pat McAfee.

The former Indianapolis Colts punter and kicker already is seemingly everywhere — as the host of his own show every weekday on ESPN, as an analyst on “College GameDay” and guest on a number of other shows on the network, as a commentator/participant with WWE until earlier this year, as host of multiple podcasts, etc.

McAfee has not, however, released an album full of songs written and sung entirely by the two-time Pro Bowl selection himself.

That situation will be rectified in a matter of weeks.

McAfee announced Wednesday that he would be dropping his debut record, “The Diary of a Polarizing Figure,” on Aug. 14, a musical collaboration with country singer-songwriter Ernest.

“For as long as I can remember my mere existence has made people hate my guts,” McAfee wrote in an X post announcing the project. “I’ve been writing songs about it for 20yrs & it’s time to let them aht.. A LOT of headlines & narratives.. if I was to die, I’d like my kids to know exactly who their dad is.”

Although McAfee definitely has his detractors, it’s interesting that he’s putting out an album focusing on the haters, considering his current popularity is such that he is reportedly in talks for a contract extension with ESPN that would pay him more than $60 million a year.

Some online commenters have criticized McAfee for the timing of his announcement, which comes a day after a number of his ESPN colleagues were laid off by Walt Disney Co. McAfee reposted one such complaint on X and commented simply, “The Diary of a Polarizing Figure, August 14th, 2026.”

He said Wednesday on “The Pat McAfee Show”: “A lot of things are being said about me at this exact moment. [People] are going to hear my responses through these songs because these types of situations have been happening to me throughout my entire life. … Literally since elementary school I’ve had people that just don’t like me because I’m too loud and everything like that.”

In December, McAfee released a country-rock single called “Dookie,” also a musical collaboration with Ernest. A news release at the time stated that the single marked “a new partnership between McAfee and DeVille Records / Big Loud Records.”

Ernest told Whiskey Riff early this year that he and McAfee had recorded eight or nine songs together.

“Any EA Sports game should have a Pat McAfee song on it,” Ernest said in describing the former West Virginia standout’s musical style. “It’s locker room hype s—.”

Many athletes have attempted musical careers, with varying degrees of critical and commercial success. It would seem far fewer sports broadcasters have tried the same crossover, with John Tesh probably being the best-known example after his stint covering athletic events for CBS and NBC in the mid-1980s.

If he wants advice from a peer, perhaps McAfee might seek it from Terry Bradshaw, the four-time Super Bowl champion and longtime NFL analyst who also has released a number of country/gospel albums and even had a top 10 country hit with a cover of “I’m So Lonesome I Could Cry” in the 1970s.

McAfee said on his show that he “wrote this entire thing over the last 20 years or so in the notes section” of his phone.

“A lot of very personal stuff in here,” he said. “Finding my singing voice has been fun. That has been a blast. Then [to] all the incredible people in Nashville who have assisted and kind of helped me piece all this together, I’m so grateful and thankful.”

On stage at Red Rocks Amphitheatre in Colorado, a far cry from the sweaty basement punk shows of the band’s early days, Jimmy Eat World played breakthrough power pop hit “The Middle” as the sold-out crowd sang along with the final chorus that “everything will be all right, all right.”

“It really is incredible to us to think about everyone who bothered to spend time with this record and made something of it for themselves over 25 years. This is your guys’ record as much as it’s ours, really,” singer-guitarist Jim Adkins said from the stage.

The band, which has generally shied away from nostalgia plays over its 30-plus year career, is performing the platinum-selling “Bleed American” album in its entirety on tour this summer, including a stop at Warped Tour in Long Beach on Saturday, a matching bookend to the band’s original promotion of the album.

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“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll. And that moment only happens once, so it felt appropriate to honor it at 25,” bassist Rick Burch said backstage before the band’s Brooklyn tour stop in June.

Released on July 24, 2001, “Bleed American” was one of the last great rock records of the monoculture, arriving months before Apple’s iPod launched and made shuffle the default and 15 years before streaming became the dominant way to consume music.

“When ‘Bleed American’ took off it was right at the transition of the internet,” says Jim Adkins.

(Evelyn Freja / For The Times)

A hit with Hollywood roots

Just over a quarter of a century ago, four guys from Mesa, Ariz., came to L.A. to record their fourth album.

Jimmy Eat World’s Adkins, Burch, drummer Zach Lind and guitarist Tom Linton earned recording money between tours by working construction, driving around car dealership customers and selling art supplies and auto parts.

The band had cut ties with Capitol Records after 1999’s “Clarity” — a sweeping, lush and highly influential work highly regarded by their contemporaries that would inspire third-wave emo superstars including My Chemical Romance, Fall Out Boy and Paramore — that the major label had no idea how to market, even after “Lucky Denver Mint” got pickup on L.A.’s alt rock tastemaker KROQ-FM.

“If that song would have been on ‘Bleed American,’ that would have been a No. 1 song,” said Jim Suptic, of Kansas-based second-wave emo band the Get Up Kids, who have been on the “Bleed American” anniversary run. Suptic said that he was inspired to start the band after seeing Jimmy Eat World live in the mid-’90s.

With the band’s tight budget, producer Mark Trombino, who produced “Clarity” and predecessor “Static Prevails,” worked with the band for free in L.A., banking on the future success of the album. After recording drums at Cherokee Studios, the band relocated to Harddrive Analog & Digital Recording in North Hollywood to make the bulk of “Bleed American.”

“The studio was so small, it didn’t have a lounge,” Lind recalled.

But there was a bus stop outside they used instead, where they would hang out with “an assortment of characters,” Adkins said.

He and Lind commuted to the Valley from Redondo Beach, where they crashed on the floor of Lind’s brother’s place. Linton fondly remembers the great food in the city and hanging out with friends in other bands while Burch spent downtime skateboarding in L.A.

Even without the cash or support from a label, recording “Bleed American” didn’t feel like a do-or-die moment for the band’s future.

“We just kind of figured we might have to go out and just release this ourselves. Let’s just do the best job we can, and be happy with what we put out,” Linton said.

But with the buzz growing around the new music, record labels came calling.

‘The Middle’ meets the moment

By the time the album dropped in July 2001, the guitar-heavy snarling title track of “Bleed American” had already been in regular rotation on alt-rock stations for a month.

After a stint on the Warped Tour, Jimmy Eat World set out on a U.S. headlining tour in the fall, with Hey Mercedes opening.

“I remember that tour in particular, them sort of really finding their confidence in their voice and their shows and their performance and the whole package. And this was before ‘The Middle’ really broke, but I could tell that they were really firing on all cylinders,” said Hey Mercedes singer-guitarist Bob Nanna, whose influential emo group Braid first played with Jimmy Eat World in 1998.

The album landed on the Billboard charts three weeks after its release, and while its peak position was 31, it remained on the chart for 70 weeks. (A couple of months after the Sept. 11, 2001, attacks, the name of the album was changed to “Jimmy Eat World” on pressings before reverting to the original title in 2008.)

“When ‘Bleed American’ took off it was right at the transition of the internet,” Adkins said.

By 2002, “Bleed American” was taking off due to the popularity of the song “The Middle.”

(Scott Gries / Getty Images)

The media landscape hadn’t yet transformed. Rock music magazines like Spin, NME, Alternative Press and Kerrang! were thriving. The band made the rounds on the late-night talk shows as “The Middle” video clip played on MTV’s popular show “Total Request Live.”

“Things hadn’t splintered out into a zillion niche locations just quite yet,” Adkins said.

By March 2002, “The Middle” had hit the Billboard charts, where it climbed to No. 5 by the summer and spent 33 weeks on the Hot 100.

“They were a real band that had a radio hit, and not a radio band reverse engineered,” the Get Up Kids’ Suptic said.

The success was surreal for the band members as they heard the song on the radio, in restaurants and the gym. Today, you can still summon an entire generation with the opening guitar melody.

“I understand why that song has resonated,” Lind said. “I think there’s a few themes in the album that resonate with people in times when things are going tough. You know, ‘The Middle’ is definitely one of those songs that so many people have found encouragement from, whether they’re dealing with a breakup or going through cancer.”

“It seems like one of those songs that people have used to feel better and I think that’s obviously really powerful.”

“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll,” says bassist Rick Burch about the success of “Bleed American.”

(Evelyn Freja / For The Times)

Here we are now

But the fans selling out the tour dates around the U.S. know much more than the hits, singing along to the deep cuts after traveling hundreds of miles to get to the show, in some cases.

Fans traveled from states like Michigan and Texas for the tour kickoff at Red Rocks in Colorado.

Robie O’Donnell took the train up to New York from the Washington, D.C., area to take his 12-year-old daughter to her first Jimmy Eat World show. The Brooklyn show was his 25th after he discovered them in the late ‘90s from a recommendation on the Get Up Kids’ website.

Behind him in line hours before doors opened was Jane Kung, who was only 8 when “Bleed American” was released and got into it when she was in high school. She didn’t want to miss the chance to hear it live.

“The fact that so many people wanted to come see this is something I didn’t expect,” Adkins said about the tour.

The fans get a chance to geek out over the rarely-played deep cuts from the album, like “Your House,” which required a revamp because of the studio work on the song, and the live debut of “(Splash) Turn Twist,” which was on the Japanese import of the album. Even louder than the sing-along to “The Middle” is the call and response from the crowd on the album’s second-biggest hit, “Sweetness.”

“Having this piece that we’ve created be embraced by so many is a very accomplished feeling,” Burch said.

Nanna even ventured into the crowd after Hey Mercedes opened the Brooklyn show, singing along to “A Praise Chorus,” the band’s crunchy guitar-filled love letter to rock music, among others.

“The world is a tough, s— place now and to have these moments where everybody can sing along to something that’s just pure joy was really soul enriching,” he said.

OASIS have officially landed the UK’s biggest selling studio album of all time.

New lists revealed today have shown how the band’s epic reunion last year has prompted their iconic studio album, (What’s The Story?) Morning Glory, to become Britain’s biggest seller.

The 1995 record has seen brothers Noel and Liam leapfrog The Beatles‘ 1967 album Sgt. Pepper – previously the long-standing biggest studio album.

Oasis now sit at number three overall – with ABBA and Queen’s compilation records in first and second position.

A source told The Sun of the epic achievement: “This milestone cements Oasis as the UK’s most influential and successful band.

“After their Oasis Live ‘25 shows last year, that album sold like hot cakes.

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“With their 2027 dates due to be announced next month, the sales are only going to skyrocket.

“Noel and Liam should be cracking out the champagne.”

The Official Charts Company confirmed the rankings today as they marked 70 years of compiling Britain’s music.

Sitting behind Oasis at number four is Adele’s 2011 record, 21, which has managed to push The Beatles’ 1967 effort into fifth place overall – with those three records making up Britain’s biggest studio albums of all time.

The 1970s take over sixth and seventh position with Fleetwood Mac‘s ’73 album, Rumours, in sixth followed by Pink Floyd’s 1973 effort, The Dark Side of the Moon.

Michael Jackson sits in eighth with 1982’s Thriller followed by Bob Marley’ ’84 record Legend in ninth and Dire Straits’ 1985 release, Brothers in Arms, rounding out the top ten.

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”

ON the same day as the 2022 World Cup final, England lost one of its most beloved singers – Terry Hall of The Specials.  

“Terry passed away right after the game,” recalls his bandmate and best buddy, Lynval Golding. “I was in Jamaica when I got the phone call to tell me he’d gone.” 

On December 18, Lynval had been watching Argentina beat France on penalties after a 3-3 extra-time thriller. 

He says: “It was a fantastic game and I thought to myself, ‘Terry, that game was played for you’.” 

While Lynval is a Chelsea fan, Terry supported Man United — but both had been following the Three Lions. 

Four years on, as England’s 2026 campaign ends in defeat to Argentina, The Specials have released their final album, recorded in the summer of 2019 in their teenage stomping ground of Coventry. 

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Across 24 tracks, it is a reminder of a band that smashed racial and class divides — yet one that did it with horn-fuelled hooks primed for the dance floor. 

Live From The Cathedral draws on a four-night homecoming stand in the ruined shell of the old St Michael’s Cathedral, bombed almost to oblivion in the Blitz.  

It includes all The Specials’ favourites — Too Much Too Young, Rat Race, Nite Klub, Stereotype and Ghost Town among them. 

There’s also room for songs from Encore, the band’s studio album released earlier in 2019, including Vote For Me, B.L.M., and a reworking of Fun Boy Three’s The Lunatics. 

It ends with The Specials’ lilting cover of You’re Wondering Now with the Coventry crowd, given encouragement from Terry, chanting the chorus of, “You’re wondering now, what to do/Now you know, this is the end.” 

As it has turned out, the album does mark the end of The Specials, the ska revivalists with punk attitude who formed in 1977 and captivated the nation as members of the 2 Tone movement alongside The Beat, Selecter and Madness. 

And that’s why I’m speaking to the surviving core members, guitarist and occasional vocalist Lynval, who came to Britain as part of the Windrush generation, and bassist Horace Panter. 

I’m supposed to be talking to them together — but then I didn’t take the World Cup into account. 

Only when Horace and I are winding up our chat does Lynval join the video call. 

“I just woke up. I was watching football all night!” he exclaims.  

It’s the day after England beat Mexico and though Lynval lives near Seattle these days, he’s in London staying with family.  

He adds: “Obviously every four years, football is the most important thing in our lives. I’ve got my England shirt!” 

Lynval is the extrovert who wears his heart firmly on his sleeve while Horace seems to be a calm and thoughtful character.  

Hearing from these contrasting souls, one thing becomes abundantly clear. They think it’s all over. 

“This live album is the last hurrah, the final full stop,” says Horace.  

“Losing Terry was a tragic way for it to end, but it’s been an absolute joy to have been part of this band. Incredible. 

“I’ve moved on,” he continues. “Life happens.  

“In 2021, I was handed a granddaughter which I wasn’t expecting. 

“My son and his wife have moved up to live near us (not far from Warwick), so I’m involved in looking after her.  

“I still play music — noisy blues rock with some buddies from Leamington and Coventry. 

“I do other musical stuff and I’ve got this art career. I paint pictures.” 

As for Lynval, the loss of Terry aged 63 from pancreatic cancer, came as the bitterest of blows. “It took me three years to even listen to those live recordings,” he says. “It felt so raw.” 

He sees Live From The Cathedral as a tribute to all those members of the 2 Tone family “who are no longer with us”, including Specials drummer John Bradbury, trombonist Rico Rodriguez and The Beat’s Ranking Roger. 

“But it is more focused around Terry than anyone else,” he says. 

“I was absolutely blessed to work with him, one of the best lyricists England has ever produced. He never got the credit he deserved — he was so damned good.” 

Lynval vividly describes his heartbreak at discovering his close friend was seriously ill. 

Terry had just got back from Los Angeles where he’d been writing songs for the next (and never to be released) Specials album and Lynval had flown over from Seattle for sessions.  

He says: “The next day, I went to the studio and Nikolaj [Torp Larsen], our musical director, was there.  

“We listened to some of the music — one song had the feeling of Funky Kingston. 

“I waited but Terry didn’t turn up. I was the only one he would let visit him at home in Islington so I got on the Underground, came off at the Angel, and walked right to his house. 

“His wife Lindy opened the door. She looked a bit concerned and said, ‘Terry’s in bed’. 

“We both had jet lag so I decided to leave him that way. I had my usual cup of mint tea and chatted with Lindy.”  

Later that week, Lynval heard that Terry had been to hospital and received devastating test results.  

He says: “I went to Coventry and hit a bottle of rum. I went into a black space — completely dark.”  

Soon after his pilgrimage to the Midlands city where they had formed The Specials, Lynval rang Terry. 

“Terry rarely talked to anyone on the phone but he knew we had something to discuss.  

“He said, ‘I’m going to fight this’, and I said, ‘Terry, I’m going to be right by your side, fighting with you brother’.” 

Lynval firmly believes he is “spiritually connected” to Terry and, by way of example, explains how he came to sing Moon River at his funeral. 

“When Brad [John Bradbury] died in 2015, I sang Redemption Song as a tribute, with just cello, violin and viola. 

“Terry’s wife asked me what I was going to do this time. I said, ‘I don’t think I have the strength to do anything’.” 

But then, Lynval heard a radio playing Andy Williams’ definitive version of Moon River. 

He says: “It was beautiful. I rang Lindy and said, ‘I will sing for Terry and I know what I’m going to do — Moon river, wider than a mile’. 

“She started crying and said, ‘It was our wedding song and I played it to him on his deathbed, you’re a genius’, and I hadn’t known.” 

So, along with Nikolaj and guitarist Steve Cradock, Lynval performed Moon River in the same crematorium as John Bradbury’s funeral. 

He says: “When I sang that line, ‘Two drifters off to see the world’, I thought of Brad and Terry.” 

The loss of two such important bandmates prompts Lynval to echo Horace’s sentiments that The Specials have run their course. 

He says: “My book is always open, but not to do anything as The Specials ever again. 

“I was so blessed to work with these musicians but I can’t play the guitar any more. 

“My nerves were damaged after I was hit by a bus. 

“I’ve passed my guitars and keyboards on to my 18-year-old great-nephew Jayden. He’s a jazzer and a Golding!” 

I ask Horace for his thoughts on Terry and he talks of “a private person despite the fact that he could go out in front of four or five thousand people”. 

He adds: “I would kill to go on Desert Island Discs but Terry was like, ‘No, I won’t do that’.  

“But there was always something to laugh about with him. He could be very funny. We bonded over Northern working men’s club comedians and Spinal Tap.” 

Now it’s time to return to those balmy summer nights in 2019 when Terry, Lynval, Horace, Nikolaj, Steve Cradock and the rest of the ace live Specials band performed those hometown gigs in Coventry. 

Horace says: “It was a real coming together of people in Coventry and the ruins of the cathedral was a fantastic venue. 

“Usually when we went to Coventry, we would play this big soulless concrete shed up by the football stadium.” 

He adds: “I was still living there in 2019 so I would walk over the green to Empress House, catch a No13, which dropped me off at Pool Meadow. Then I’d cross the road, go up through the university, and I was at the cathedral. It was great.” 

He remembers Coventry being “a tough place to live” back in the Seventies when The Specials got together, the other members who made the debut album besides Terry, Lynval, Horace and Brad being Jerry Dammers, Neville Staple and Roddy Radiation. 

“By the time we came to prominence in 1979, there was an enormous amount of unemployment and disaffection in Coventry,” says Horace. 

Although Dammers’ masterpiece Ghost Town could be about any downtrodden city with big social problems, it could, he suggests, also have been about their hometown. 

He says: “Lynval suffered racism in some of the jobs he had. At night, he’d go out to the clubs and getting home could be quite an adventure.” 

Though The Specials were associated with Rock Against Racism, Horace says: “We didn’t play many of the gigs because we were the working definition of white guys and black guys making music that works. It was unity in action.” 

He draws my attention to the great Friday Night, Saturday Morning which The Specials perform on Live From The Cathedral and is dedicated by Terry to the fabled Parson’s Nose fish and chip shop in Coventry. 

The song goes: “Hope the chip shop isn’t closed. Cos’ their pies are really nice. I’ll eat in the taxi queue. Standing in someone else’s spew.” 

Horace says: “That was one of Terry’s first forays into songwriting and a really important song of ours. He gave it a very droll delivery. 

“The Parson’s Nose was the chippy that stayed open late after you’d been to clubs like Mr George’s, La Chaumière or Tiffany’s. You’d go there for a steak and kidney pie and mushy peas. 

“Nite Klub mentions Tiffany’s. The shows we did there were the apogee of 2-Toning in 1979.” 

Lynval says: “I got chased in Coventry, I got stabbed in Coventry. It could be a running battle because of the racial problem.” 

But he adds that he had “wonderful” Friday nights and Saturday mornings that ended up at The Parson’s Nose or the Chinese takeaway next door. 

“We were youth, we were growing up and I really did ‘wish I had lipstick on my shirt instead of piss stains on my shoes’.” 

Horace maintains that The Specials gave Coventry something to smile about and to be proud of in the late Seventies “and that was acknowledged during the gigs in 2019”. 

So, I can’t help but ask, how did Horace get his stage name, Sir Horace Gentleman?  

“That was Lynval’s fault,” he replies. “I was raised in Kettering, Northamptonshire, and had a very plummy accent.  

“I was at art college and wasn’t working class by any stretch. And, of course, lots of people had reggae names like Prince Buster or Sir Coxsone.” 

Horace says The Specials “owed as much a debt of gratitude to The Clash as we did to the Jamaican artists.  

“We had the great good fortune to open for The Clash for three weeks in 1978 so we could sit side-stage every night and watch how those guys delivered and what they delivered.  

“We thought, ‘Well, OK, if we’re going to be any good, we’ve got to be at least as good as these guys’. The Clash set the benchmark.” 

But the final words are with Lynval, who has nothing but fond memories of his time in a very special band. 

“I feel so honoured to have been in The Specials,” he says. 

“It’s nearly 50 years since we first got together. What an achievement! 

“And, hold on a minute, those songs are just as relevant today.” 

Lynval leaves us with a quote from a song that Horace insisted they play live at every show because it served as a mission statement. 

“Just because you’re a black boy. Just because you’re a white. It doesn’t mean you’ve got to hate him. It doesn’t mean you’ve got to fight. 

“It doesn’t make it alright.” 

THE SPECIALS 

Live From The Cathedral 

★★★★☆

Jack White stepped in when Charley Crockett accidentally hired, then fired, a satanic doo-wop duo. Happens to everyone, right?

The outlaw country singer apparently thought the husband-and-wife duo known as Twin Temple were like Black Sabbath when he invited them to open two shows for him this week, a July 14 date in Troutdale, Ore., and another on July 18 in Paso Robles. With songs including “Satan’s a Woman,” “Lucifer, My Love,” “Let’s Have a Satanic Orgy” and “Burn Your Bible,” it’s anyone’s guess how Crockett missed the duo’s shtick.

“Today we were informed that Charley Crockett has decided to remove Twin Temple from his upcoming shows next week due to our Satanic imagery,” the musicians wrote on Instagram last week.

“Unfortunately, that means we will not be able to perform for you next week as planned. We are really disappointed as we were looking forward to getting back out and seeing you, and also what it meant as far as bringing different types of people and music lovers together. We are sorry to everyone who was planning to see us.

“We’re grateful for your support, not only of Twin Temple, but more importantly of artistic freedom. HAIL SATAN! 93/93”

Crockett, who dropped his 16th studio album, “Age of the Ram,” in April, posted his own since-deleted message on social media, writing, “Hail Satan? Not me Jack.”

Twin Temple, composed of married couple Alexandra and Zachary James, weren’t out of work for long. White, the former White Stripes frontman, who happened to be kicking off a world tour in support of his new album, “Frozen Charlotte,” caught wind of the debacle and stepped in.

“Twin Temple, Would you like to open my show in L.A. on September 29th at the Hollywood Palladium? Let me know,” White posted on Friday, adding, “Get in front of me Satan!”

The duo was quick to accept, commenting on White’s invite, “Unholy hell…. Sir Jack, you have no idea what this means to us. Lifelong fans- dead leaves on the dirty ground was one of the first songs I (Alex) ever learned on guitar. We were actually planning on coming to this show. It would be a most infernal pleasure to play the devils music with you.”

On Tuesday, Twin Temple announced their third record, “Doomed Lovers,” produced by Shooter Jennings (who also produced Crockett’s “Age of the Ram” and other recent albums). The album will drop Oct. 9 via their own Pentagrammaton Records. The duo told Rolling Stone on Tuesday that they were sad about the turn of events with Crockett but confirmed that their swanky Satan-loving doo-wop isn’t a sham.

“Satan’s the original outlaw, right? He’s a rebel angel,” Alexandra told the outlet. “He’s the one who questioned authority, fought for himself, refused to bow down or conform, and was like non serviam. That was a metaphor that resonated very strongly with me.”

She added, “It’s really fun to go shopping for a human skull and a Ronettes record in the same day, and we get to do that with our band.”

While Twin Temple has been booking shows and working on the album announcement, Crockett has continued to post about the drama from the road. “Well, now I know how it feels when they try to cancel you on the right AND the left,” he wrote on Facebook on Monday. “The thing is, I never subscribed. America can be a One Eyed Jack, but I’ve seen your other side.”

Last March, the L.A. Times had proclaimed that Nathy Peluso had found her musical language. Later that year, the Argentine singer decided to mix things up by releasing her 2025 EP, “Malportada.”

In a departure from her urbano and alternative leanings blended with notes of R&B, the six-song EP was a straightforward, traditional salsa offering that featured a collaboration with Venezuelan salsa hybrid band Rawayana on the title track.

“My experience being a woman and making music has always been to talk about my freedom [and] how I feel,” she told The Times in a recent interview inside the famous Amoeba Music record store in Hollywood. “Salsa seems to me like a stage that invites one to express themselves fully, speak loudly, dance freely and feel powerful.”

Peluso had previously dabbled in the salsa genre with tracks like 2020’s “Puro Veneno,” 2021’s “Mafiosa” and the 2025 salsa erótica tune “Erotika,” but had never dedicated an entire project to the Caribbean musical styling.

The pivot by the 31-year-old artist was especially bold as she had previously been accused of cultural appropriation for recording salsa tunes.

“It’s [my] function in society,” Peluso previously told The Times in a 2025 interview when asked about the criticism of her salsa jams. “I’m not the kind of artist who’s complacent or politically correct. I don’t do anything with the intention of pleasing others. I chose the mission of bringing salsa back to the present because I’m passionate about it. If a genre gives me so many wonderful sensations, I want everybody else to feel them as well. As long as people argue, they will have to listen to the songs — and as a result, they will listen to salsa.”

Peluso’s gamble paid off — as “Malportada” was so well-received by critics, fans and the wider salsa community that she managed to get herself booked as the co-headliner for the Hollywood Bowl’s upcoming Salsa Spectacular on Wednesday.

Over the last few years, salsa music has enjoyed a bit of a renaissance — thanks in part to the success of Bad Bunny’s universally acclaimed album “Debí Tirar Más Fotos” — which featured the salsa fusion hits “Baile Inolvidable” and “Nuevayol” — and Rauw Alejandro’s 2024 LP “Cosa Nuestra.”

But for Peluso, her integration into the salsa world was a long time coming.

“I grew up listening to Gloria Estefan, I fell in love with [the 2000 album] ‘Alma Caribeña,’ I fell in love with the richness of that music,” said Peluso. “I’ve had a strong relationship with salsa music since I was young, even though I didn’t grew up in a place that was a cradle for that genre.”

Peluso was born in the Argentine city of Luján and lived there until she was 9, when her family moved to Spain, eventually settling in the southeastern city of Alicante.

In addition to Estefan, she cited inspiration from Nuyorican percussionist Ray Barretto, Puerto Rican salsa orchestra El Gran Combo de Puerto Rico and genre icons Héctor Lavoe and Willie Colón.

(Ronaldo Bolanos / Los Angeles Times)

“Throughout my career, I’ve always flirted with the genre,” Peluso said. “After doing the press for [the 2024 album] ‘Grasa’ there reached a point where I realized I was ready to make my salsa record, and it just happened to coincide with the current salsa boom.”

While paying respect to the musical tradition, Peluso also imbued her spin on the genre with some of the swaggering feminine energy often found in urbano music — as is evidenced in the “Malportada” track “A Caballo.”

“I grew up listening to a lot of masculine salsa and I thought it would be interesting to approach that type of energy from a woman’s perspective,” she explained. “[To take] all these stories of danger and sex and desire that the genre is known for, but give them a feminine spin.”

Peluso further bolstered her salsa bona fides when she teamed up with a pair of Caribbean music legends over the last year.

In September, she collaborated with her idol Estefan for a remix of the 1993 track “Chirriqui Chirri.” The duo performed the explosive song at the 2025 Latin Grammy Awards show. In February, Peluso jumped in the studio with Puerto Rican salsero Marc Anthony to record the original track “Como en el Idilio.”

“It was so awesome to sing with [Anthony] because he is one of the all-time legends we have in salsa who expanded the genre worldwide,” Peluso said. “It was a blessing to sing with Marc and Gloria in this moment of my career in which I’ve decided to represent salsa from my point of view.”

For her Hollywood Bowl gig, Peluso will be accompanied by the Colombian salsa collective Grupo Niche, a Grammy- and Latin Grammy-winning group that has been around since the late ’70s.

“I’ve admired Grupo Niche for years,” Peluso said. “We met at the Latin Grammys a few years ago and really hit it off. A little while back, when I was offered to do the Hollywood Bowl show alongside them, it was a no-brainer.”

But the biggest honor that Peluso is looking forward to is playing the hallowed stage of the Hollywood Bowl.

“It’s like playing in a palace for me,” she said of the historic venue. “The last time I was in L.A. for the ‘Grasa’ tour, I left wanting more. I knew I’d have to waiting until my next tour to try it, but I didn’t expect my next tour to come so quickly. It’s such a mythical place, it’s such a luxury.”

In 1975, 31-year-old Mick Jagger told People magazine that “I’d rather be dead than sing ‘Satisfaction’ at 45.” The Rolling Stones’ frontman is still very much alive, despite having performed that song in concert hundreds of times since then, most recently in 2024 during the band’s “Hackney Diamonds” tour. Jagger was 80 at the time.

“Time waits for no one,” as the Stones once sang, but apparently that doesn’t apply to the “World’s Greatest Rock and Roll Band.” To paraphrase the group’s first Top 10 U.S. hit in 1964, time is on their side. Yes, it is.

Consider the fates of the British Invasion superstars who emerged from England alongside the Stones in the 1960s. The Beatles broke up in 1970. The Kinks dissolved in 1996. The original Animals imploded in 1966. The Who called it quits in 1982 but has reunited repeatedly, including for its recent North American farewell tour.

And then there’s the indestructible, indefatigable Rolling Stones. With the partnership of Jagger and guitarist Keith Richards still front and center, the Stones will release their 27th studio album, “Foreign Tongues,” on Friday. Over the decades, they have produced classics such as “Exile on Main St.” and “Some Girls,” mediocrity like “Steel Wheels,” and abominations such as “Dirty Work.” We rank the group’s six-decade studio output from worst to first. All albums are the U.S. editions.

27. ‘Dirty Work’ (1986)

Never has an album cover so captured a band’s mood. “Dirty Work” features a photo of sullen, unsmiling Rolling Stones looking like they’d rather be anywhere else. The music reflects that disinterest. Apart from the cover of “Harlem Shuffle,” nothing here is memorable. It’s no surprise that the Stones nearly broke up during this period.

26. ‘Undercover’ (1983)

The follow-up to the brilliant “Tattoo You” landed with a thud. Although the song “Undercover of the Night” nicely melds a solid guitar riff with trenchant lyrics about political corruption and violence in South America, the rest of the album wilts.

25. ‘Bridges to Babylon’ (1997)

Another in a series of disappointing releases, “Bridges to Babylon” has one great song, “Saint of Me,” and lots of filler.

24. ‘Steel Wheels’ (1989)

Touted as a return to form, this album certainly outshines “Undercover” and “Dirty Work.” But that’s not saying much. With dated production and too many songs that make a good first impression but fail to stick, “Steel Wheels” has gathered moss over the years.

23. ‘Voodoo Lounge’ (1994)

Like its predecessor “Steel Wheels,” this is another attempt to recapture their classic sound. To an extent, the record succeeds. “You Got Me Rocking” sounds like a throwback to something on “Exile on Main St.,” while the ballad “Out of Tears” echoes “Angie.” With the exception of “Love Is Strong,” however, most of the songs here are little more than pleasant exercises in nostalgia.

22. ‘The Rolling Stones: England’s Newest Hitmakers’ (1964)

A solid debut, “England’s Newest Hitmakers” features covers of songs by Willie Dixon, Chuck Berry and Jimmy Reed, firmly grounding the group in its American blues and R&B influences. The sole Jagger/Richards original here, “Tell Me,” only hints at the duo’s future songwriting prowess.

21. ‘Black and Blue’ (1976)

After guitar virtuoso Mick Taylor’s departure from the Stones in late 1974, the band used “Black and Blue” to audition potential replacements. They settled on Ronnie Wood, a former member of the Faces who, ever since then, has engaged in the ancient art of guitar weaving with Keith Richards. Heavy on grooves and jams, this album sometimes feels unfocused and indulgent. The excellent ballads “Memory Motel” and “Fool to Cry” are essential.

20. ‘12X5’ (1964)

A step forward from their debut, “12X5” has the magnificent covers “Time Is on My Side” and “It’s All Over Now.” For those who like their Stones bluesy, early albums like this offer a cornucopia of treasures.

19. ‘Blue & Lonesome’ (2016)

Recorded in just three days, this album of blues covers sizzles. The Stones sound absolutely committed, with Jagger’s harmonica and vocals particularly strong.

18. ‘The Rolling Stones, Now!’ (1965)

On the band’s third U.S. album, the Stones rock harder and softer. Their version of Willie Dixon’s “Little Red Rooster” is a slow burn. The ballad “Heart of Stone,” one of their best early originals, made the Billboard Top 20.

17. ‘Foreign Tongues’ (2026)

The Stones have rarely sounded looser or more alive. Produced again by the classic-rocker whisperer Andrew Watt (Paul McCartney, Elton John, Pearl Jam), the band delivers a clutch of strong songs. In a just world, the single “In the Stars” would be a hit. “Back in Your Life,” fueled by some of Wood’s most sensitive and impassioned playing, is a stunner. At 14 songs and 62 minutes, the album would have benefited from trimming three or four of the more generic tunes. Still, it’s amazing that Jagger and Richards, both 82, and Wood, 79, have made such a fresh and vital record. Sometimes you can get what you want.

16. ‘A Bigger Bang’ (2005)

For the band’s first album of originals in eight years, the Stones remind you what makes them great. The first of their three late-career triumphs, “A Bigger Bang” brings attitude, funk, dirty rockers and dreamy ballads. The blazing “Rough Justice” and the slinky, sexy “Rain Fall Down” are topflight.

15. ‘Hackney Diamonds’ (2023)

Eighteen years passed between the release of “A Bigger Bang” and this album. It was worth the wait. “Hackney Diamonds” is another strong effort, with the banger “Angry” sounding urgent and, well, genuinely angry. The gospel-tinged “Sweet Sounds of Heaven,” featuring Lady Gaga, finds her and Jagger trading vocals and pushing each other to the stratosphere. It’s the best song the group has made since “Tattoo You’s” “Waiting on A Friend” and “Start Me Up” in 1981. The absence of late drummer Charlie Watts is felt, but Jagger and Richards prove that old geezers can still rock.

14. ‘Out of Our Heads’ (1965)

A very strong outing that includes originals “The Last Time,” “Play With Fire” and “Satisfaction,” one of the best rock songs ever written.

13. ‘It’s Only Rock ‘n Roll’ (1974)

Keith Richards’ deepening heroin problem meant Jagger had to carry more of the load himself. On this album, he acquits himself admirably. The anthemic title track positively swaggers. The poignant “Time Waits for No One” features one of Taylor’s most beautiful solos, a fitting coda to the end of his five-year career with the Stones. A fine album with several good songs and a couple great ones.

12. ‘December’s Children (And Everybody’s)’ (1965)

A hodgepodge of live cuts, outtakes, British LP tracks and singles, this album shows the Stones rapidly gaining confidence and playing with equal parts finesse and fire. Any album with “Get Off of My Cloud” and “As Tears Go By” is worth the price of admission.

11. ‘Their Satanic Majesties Request’ (1967)

Released months after “Sgt. Pepper’s Lonely Hearts Club Band,” this occasionally ill-advised foray into psychedelia pales in comparison to the Beatles’ masterpiece. That doesn’t mean it’s bad. In fact, the Stones never sounded as adventurous or experimental. When it works, as it does on “She’s a Rainbow” and “2000 Light Years From Home,” candy-colored bliss follows.

10. ‘Emotional Rescue’ (1980)

An underrated gem often overshadowed by its predecessor, “Some Girls,” and its successor, “Tattoo You,” “Emotional Rescue” finds the Stones in fine form at the dawn of a new decade. The rhythm section of bassist Bill Wyman and drummer Watts locks in, while Richards and Wood converse with their guitars as only they can. Jagger sounds energized on the rockers “Let Me Go” and “She’s So Cold” and sexy on the incredibly funky “Dance (Pt. 1).”

9. ‘Goats Head Soup’ (1973)

Considered a big letdown after the magisterial “Exile on Main St.,” this album has received a well-deserved critical reappraisal and aged like a fine wine. It’s not the Stones at their peak, but close enough. “Angie” is absolutely gorgeous, while “Star Star” captures the Stones at their most profane.

8. ‘Tattoo You’ (1981)

Needing new material for their 1981 tour, the Stones cobbled together “Tattoo You” from leftovers and half-finished songs dating back to “Goats Head Soup.” Jagger penned new lyrics, recorded new vocals, and presto — the band made its last classic. “Start Me Up,” the band’s best rocker since “Brown Sugar,” propelled the album to multiplatinum sales and shook stadiums around the world. It still does.

7. ‘Aftermath’ (1966)

The first Stones album composed entirely by Jagger and Richards, “Aftermath” represents a quantum leap forward or two. Brian Jones, before drugs and paranoia dimmed his creative spark, made some of his greatest contributions, elevating “Paint It Black” with his sitar and adding the indelible marimba riff to “Under My Thumb.” The Stones had finally lived up to all the hype.

6. ‘Between the Buttons’ (1967)

The American version kicks off with the one-two-three punch of “Let’s Spend the Night Together,” “Yesterday’s Papers” and “Ruby Tuesday” and doesn’t let up. Arguably the band’s poppiest album, it sounds like groovy Swinging London set to music.

5. ‘Some Girls’ (1978)

After the lackluster “Black and Blue” and the mixed critical reception of “It’s Only Rock ‘n Roll” and “Goats Head Soup,” some wondered if the Stones had lost their musical magic. They needn’t have worried. The band, hungry to prove the doubters wrong, made one of its strongest albums. With Wood now fully integrated into the group , punky, guitar-centric rockers like “Respectable,” “When the Whip Comes Down” and “Shattered” snarl. Jagger, entranced by the sounds coming out of New York’s discos at the time, contributed the No. 1 “Miss You.” Add “Beast of Burden” and the countryish “Far Away Eyes” to the mix and you have the ingredients for a stunning comeback.

4. ‘Beggars Banquet’ (1968)

The start of one of the strongest four-album runs in rock history, “Beggars Banquet” is a near-perfect listen from beginning to end. New producer Jimmy Miller helps strip the band down to its rawest, raunchiest essence on songs like “Sympathy for the Devil,” “Stray Cat Blues,” and “Street Fighting Man.” For the first time, the Stones had released an album on par with some of the Beatles’ best work. Indispensable.

3. ‘Sticky Fingers’ (1971)

Unbreakable love (“Wild Horses”); heartbreak (“I’ve Got the Blues”); slavery, interracial sex and heroin (“Brown Sugar”); addiction (“Sister Morphine”) — “Sticky Fingers” has it all, along with some of the most powerful music in the Stones’ catalog. If a Martian came to Earth and wanted to know what made the Stones special, a listen to “Sticky Fingers” would make it abundantly clear.

2. ‘Let It Bleed’ (1969)

By the end of the ’60s, the dream had faded. Vietnam, inner-city riots, and the assassinations of Robert F. Kennedy and Martin Luther King Jr. had cast a pall over the Day-Glo optimism of the Love Generation. The Rolling Stones were there to chronicle the impending hangover. “Gimme Shelter” reflected the growing dread of the times. It’s among the darkest, grittiest and most transcendent songs ever recorded, with Jagger singing about rape and murder over Richards’ shimmering guitar. In the powerhouse “Midnight Rambler,” Jagger takes on the persona of a killer, even name-checking the Boston Strangler. Dark stuff. Yet the superb “You Can’t Always Get What You Want,” replete with a gospel choir, the country stylings of “Let It Bleed” and “Love in Vain,” sung by Jagger with utter conviction, give the album incredible diversity and depth.

1. ‘Exile on Main St.’ (1972)

And then there was one. Recorded largely in the steamy, sweltering basement of Richards’ rented French villa, Nellecôte, “Exile” reeks of filth, decadence and decay. With Jagger’s vocals often buried deep in the muddy and murky mix, the album initially sounds like a druggy demo. But listen again. And again. Slowly, it reveals itself as quintessential Stones, a potent admixture of styles, sounds and soul. Richards tosses off one indelible riff after another, making “Rocks Off,” “Happy,” “Tumbling Dice” and “All Down the Line” rock and roll perfection. You like your Stones with a dash of Americana? “Sweet Virginia” might be the band’s best country rocker. Blues? Try “Ventilator Blues.” Gospel? “Shine a Light,” accented with Billy Preston’s piano and organ, transports listeners to a higher place. Other Stones records contain more classics and better production, but none holds together as well as a whole or comes as close to the sublime as this one.

Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.

Here’s a terrible-seeming idea: The Rolling Stones should get started on their next album.

Like, now.

After taking nearly two decades to release 2023’s “Hackney Diamonds” — the band’s first set of original material since “A Bigger Bang” in 2005 — the Stones are back this week with a follow-up, “Foreign Tongues,” that took them less than 36 months to get out.

And it’s the better record in every way.

In the old days, of course, two and a half years was all they needed to make “Beggars Banquet,” “Let It Bleed” and “Sticky Fingers.” So let’s not get too carried away by the fact Mick Jagger, Keith Richards and Ronnie Wood are working as fast as they are in their late 70s and early 80s.

Yet to listen to the brisk and sportive “Foreign Tongues” is to hear a band clearly going on instinct rather than overthinking the music à la any number of veteran acts in legacy-maintenance mode. I don’t know if the result is the Stones’ best since 1978’s “Some Girls,” but it’s definitely the funniest, which is actually the more impressive achievement.

“Wake up in the morning and you wanna make me puke,” Jagger sneers in the punky “Hit Me in the Head” — exactly the kind of lyric you’d hope to hear from a band whose only possible reason for still being in the game is to have a gas-gas-gas.

Like “Hackney Diamonds” — and, for that matter, like Paul McCartney’s “The Boys of Dungeon Lane” (to name one recent overthinking-veteran LP) — “Foreign Tongues” was produced by 35-year-old Andrew Watt, who’s made a career of helping boomer icons put a little shine on their late-in-life efforts. And he’s helped the Stones convene an appealingly motley crew of collaborators here, including McCartney (who plays bass on “Covered in You”), the Cure’s Robert Smith (who contributes guitar to “Divine Intervention”), Steve Winwood (who plays piano and organ throughout the album) and Bruno Mars (who’s credited with, uh, cowbell in “Never Wanna Lose You”).

You also get a welcome appearance from the late Charlie Watts in a hard-thwacking performance recorded before his death in 2021. (Steve Jordan otherwise keeps time.)

But none of the stunt casting feels like the point of the album, which instead simply doles out a dozen tunes in the Stones’ various idioms — the bluesy stomp, the country-ish lope, the sleazy disco jam — plus a couple of covers in just over an hour. It’s frisky and lighthearted, even when Jagger is lamenting what he sees as the sorry state of his beloved America in “Ringing Hollow” and when Richards is croaking about love having put him on his knees in “Some of Us.”

And when they go goblin mode, they really lean in: “Mr. Charm” is a demented soul-rock rave-up about how boring money is — OK, Mick — in which Jagger drops a diss of the “mad mogul Mr. Musk” into a verse laying out the delights of staying home and doing anagrams.

In “Divine Intervention,” Jagger offers a colorful travelogue of trips through New York and Los Angeles — “I kept moving on to Silver Lake / To play guitar with a brand new friend of mine” — while Richards and Wood get their guitars slip-sliding all over the place. “Jealous Lover” is gorgeously trashy: a horny little strut that sounds like “Dirty Mind”-era Prince doing “Waiting on a Friend.” (Legitimately loony Mick vocal here.)

For God knows what reason, the Stones offer up a faithful rendition of Amy Winehouse’s “You Know I’m No Good” with Jagger on harmonica. And the album ends with a very ragged take on Chuck Berry’s “Beautiful Delilah,” obviously meant to remind you of how the two lifers at the core of the Stones came together more than half a century ago.

The memory is ancient; the thrill, somehow, is alive.

BRIT musician Calvin Hayes who co-founded 80s hit band Johnny Hates Jazz was tragically found dead at his home, aged 63 yesterday.

The talented keyboardist, drummer and heartthrob collapsed at his US property.

The hit group achieved major international success with 1988 album Turn Back the Clock, which topped the UK charts.

They enjoyed a popular reunion in 2010.

The star’s dad was Mickie Most, a prominent British record producer who worked with major artists in the 60s and 70s including cult group Hot Chocolate.

Hayes also found fame working alongside pin-up Kim Wilde, who he dated.

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He appeared as part of her promotional band and featured on the sleeve artwork of her self-titled debut album, released in 1981.

Kim recalled in a 1988 interview that she had known Hayes since recording Kids in America, noting they first got involved at a family party.

Pin-up Kim said: “We have fallen for each other totally. I can tell everybody that it’s the most wonderful feeling in the world.

“He is the greatest thing that has ever happened to me.

“I have never really liked talking about my love life but there have been so many rumours about me recently that I decided it was best to get it all out in the open.

“We always got on well, ever since he played drums in my first band seven years ago.

“And that’s why our love affair is stronger than most couples.

“We know that we have got a lot in common. I think that’s why we both know it will last.”

Hayes co-founded Johnny Hates Jazz in 1986 with singer Clark Datchler and bassist Mike Nocito.

The band self-produced their work and gained international recognition with their 1987 single Shattered Dreams, which reached the Top 10 in multiple countries including the US.

Turn Back the Clock achieved multi-platinum status and produced four consecutive UK Top 20 singles: I Don’t Want to Be a Hero, Turn Back the Clock and Heart of Gold alongside Shattered Dreams.

At the peak of their success after the first album, Datchler left the band.

Hayes and Nocito continued, recruiting Phil Thornalley as vocalist for the second album Tall Stories, though its release was delayed by a near-fatal car crash that kept Hayes in a body cast for nearly a year.

Johnny Hates Jazz appeared on Top of the Pops eight times between May 1987 and March 1988.

Hayes maintained a low profile in music for much of the 1990s and early 2000s.

They regrouped for a nostalgia arena tour.

The band performed multiple live shows across Europe and Southeast Asia during their comeback.

Hayes departed the group shortly after these performances for personal reasons.

Hayes and Wilde remained good friends since their initial collaboration in the early 1980s.

He tragically died in Spokane, Washington.

His death was confirmed by his grieving wife Kathy.

A pal said: “He was the sound of the 80s and a super talented man. He will be greatly missed.”

LEIGH-Anne Pinnock has confirmed she and husband Andre Gray are expecting their third child – and the signs were all there. 

The former Little Mix singer, 34, has been busy promoting her debut solo album My Ego Told Me To, but it’s not just the new music that’s acted as a distraction for fans when it comes to her pregnancy. 

Leigh-Anne took to Instagram last week to share snaps from a trip to Los Angeles, including one of her covering up in an oversized denim shirt and matching jeans. 

She and Andre, 35, recently took their four-year-old daughters to Thailand and some of the holiday snaps suggest Leigh was hiding a bump. 

In one photo she can be seen posing behind her girls in an olive green minidress. 

Another stunning shot saw the proud mum and her daughters in the sea – with Leigh-Anne posing with her back to the camera. 

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The Don’t Say Love hitmaker and footballer Andre are fiercely protective of their children and have never shown their faces or revealed their names. 

Earlier this year Leigh-Anne opened up on her decision to keep her daughters out of the public eye. 

She told People: “I remember when they were born, I was going through this online hate thing and really seeing the toxicity of social media.

“I mean, I probably would’ve still decided to not show their faces anyway, but that just kind of confirmed it for me. I want them to be able to make that decision.

“I want them to be able to [choose] if they want to be famous or not, because once they’re out there, they’re out there.

Leigh-Anne and Andre tied the knot in 2023 in a beachfront ceremony in Jamaica.

One Wednesday evening in May, at the boutique hotel Dream Hollywood — located just off the Walk of Fame — a young hotel staff member shuffled over to her co-worker to discuss a special guest on the top floor. Together they exchanged whispers about an artist’s unknown whereabouts and whether or not they would catch him on his descent to the first floor.

The name “Tito Double P” slipped out, referring to the Mexican corrido singer who happened to be in town promoting his latest album, “Acomodo.”

I met the 28-year-old on the top floor, where he opted for a warm, friendly hug in lieu of a firm business handshake. We were quickly rushed into a side room to conduct his last interview of the evening.

Those who’ve followed Tito Double P’s musical journey since 2023 would likely describe him as a chaotic force, with weathered vocals, off-the-cuff ad libs, riotous pelvic thrusts and suggestive tongue expressions.

Come Sunday, he’ll bring the ruckus when he headlines Belico Fest in L.A.’s BMO Stadium. But when we spoke about his second solo album, “Acomodo,” the Nayarit-born, Sinaloa-raised singer, whose real name is Jesús Roberto Laija García, arrived polished, perfumed and poised.

“After this LP, don’t be surprised if you see different things from me,” said Laija García.

Released on May 28, the LP contains 23 corridos, which see Laija García strike the commanding tone of brazen CEO. In its focus track, “Me Vale V,” the singer firmly declares he is manifesting his dreams and not paying anyone else mind. Its lyrics reveal it all: “Ya van tres días que no paro, pero bien trabado” (I’ve been going nonstop for three days now, but I’m totally locked in).

But listeners also get a more vulnerable side of the músicana mexicana singer, who agonizes over heartbreak in “La Fama” — while simultaneously voicing his vice for women and boozy escapades. Throughout the record, the singer sprinkles in the catchphrase, “Bélico pero no tanto, mija,” which translates to “warlike, but not too much, my dear” — striking a balance between his hard-shelled exterior and inner tenderness, namely in the yearning jazzy corrido “Pase y Pase,” in which he pleads for a late-night booty call.

Most notably, “Acomodo” boasts no features whatsoever, a rarity in an industry where artist collaborations play a key role in bringing in bigger audiences (and bigger payouts).

“Many people called me to ask why they weren’t going to be on [the record],” he said. But the solo move marked a milestone achievement for Laija García, who had no designs of becoming an international musical marvel.

“I was never the child who sang, who played the guitar in school festivities or at family parties,” said Laija García in a calm tone — occasionally referring to his stage name in the third person.

The singer still can’t fathom his own success. He cut his teeth by penning career-defining songs for his famous cousin, Peso Pluma — including anthemic corridos like “El Belicon,” “Siempre Pendientes” and “AMG.” These standout ballads touted a rugged lifestyle with elements of organized crime, which aided his primo’s ascent to the mainstream.

Tito Double P released his second solo album “Acomodo.”

(Adan Ornelas Anta)

In the process of composing his cousin’s Grammy-winning 2023 album, “Génesis,” Laija García asked him if he could also release his own material. “Let’s go!” he recalled Peso Pluma saying. “Your first song will be a duet with me.”

The plan was to debut Tito Double P with “La People,” a fiery narcocorrido that details the inner life of a cartel’s tactical security guard, who narrowly escapes a police raid.

But Laija García’s rollout plan took a detour when an unmastered version of his track was leaked to TikTok in spring 2023 — a bouncy tune he later renamed “Dembow Belico,” which is characterized by a Dominican-style boom-chi-boom-chick rhythm and raw, spitfire lyrics. This party track introduced audiences to a version of Tito Double P that radiated a lighthearted madness — fueled by Skyy vodka and Old Parr whiskey, as per the song’s lyrics.

“I liked it, it was something new,” said Luis R. Conriquez, who called up the new singer to be a collaborator. “What makes him special is his voice, his sound. He’s his own person.”

Together with Conriquez and Joel De La P, “Dembow Belico” was released on June 5, 2023, and became Tito Double P’s official debut in the music world — even giving life to one of the most viral clips of Mexican boxer Canelo Alvarez, who can be seen awkwardly dancing to it.

“From there on, Tito Double P was another persona,” said Laija García. Throughout his lively retelling of the story, he added a series of sound effects to move the story line — among them, wacha, pum, pum, pum, gol. “More than anything, Tito Double P came across as a character, because that guy was totally crazy, he didn’t give a damn.”

“More than anything, Tito Double P came across as a character, because that guy was totally crazy, he didn’t give a damn,” said Jesús Roberto Laija García, better known as Tito Double P.

(Adan Ornelas Anta)

In real life, Laija García considers himself a timid, camera-shy guy. That’s why he chose an illustration for the cover of his 2024 debut album “Incómodo,” rather than a real-life image of himself; the LP title directly translates to “discomfort.”

“I was going to be one of those artists that [only] releases songs, because [I thought,] ‘How embarrassing would it be if I got up on stage?’” he mused. “But now, I dominate the stage from head to toe. And I don’t want to come down.”

The debut record also served as an experimental project for Tito Double P, whose hard-won swagger elevated every sound he toyed with — whether it was on the brass-heavy banda song “La 701” with Luis R Conriquez, the techno thump of “La Bandolera,” the heavy-hitting urban track “Linda” with Neton Vega and the guitar-powered ballad “Los Cuadros” ft. Peso Pluma).

Featuring collaborations with established acts, such as Natanael Cano, Junior H and Grupo Frontera, the album peaked at No. 11 on the Billboard 200 chart and helped the rising star distinguish himself from his high-profile cousin — who he toppled from the No. 1 spot on the Top Latin Albums chart, five weeks after his debut release.

Although Laija García hasn’t shied away from embracing that familial tie either; in May, both Tito Double P and Peso Pluma concluded their “Dinastía” tour following their joint 2025 album of the same name.

“I still see comments on TikTok where people are surprised that we are cousins,” remarked Laija García.

Now with “Acomodo” — which debuted at the top of both Spotify Top Albums USA and Top Global Charts across all genres — Tito Double P affirmed his rightful place in música mexicana upper echelons.

“That’s why it’s called ‘Acomodo,’ because everything is aligning itself as it should be,” he said.

As Tito Double P made his way to the lobby, a member of the Dream Hollywood valet — who likely bore witness to Hollywood A-listers and other luminaries — asked if he could take a picture with the singer. “Tito, Tito, a photo please!” asked the employee.

Laija García flashed a friendly smile. Thankfully for the attendant, Tito Double P is always camera-ready.

Donny Hathaway had already been expounding on the splendors and indignities of American life by the time he got to the Troubadour in West Hollywood in the last week of August 1971.

A classically trained pianist with a declamatory voice shaped by his years in the church, Hathaway closed Side 1 of his 1970 debut with an original called “Tryin’ Times” — “Maybe folks wouldn’t have to suffer,” he sang, “if there was more love for your brother” — and finished the LP with a stately rendition of Nina Simone’s “To Be Young, Gifted and Black.” Months after the album was released, he dropped a joy bomb of a holiday single, “This Christmas,” that unapologetically made space for a Black experience in the yuletide-industrial complex.

Donny Hathaway performs at Mister Kelly’s in Chicago in 1971.

(Val Mazzenga / Chicago Tribune / Tribune News Service via Getty Images)

Yet Hathaway captured something indelibly American during his week of shows at the Troubadour, which were recorded (along with a later gig at New York’s Bitter End) for the singer’s classic “Live” album that came out in February 1972. On an LP full of spine-tingling performances, the undeniable high point is Hathaway’s take on Carole King’s “You’ve Got a Friend” — a clear-eyed if optimistic portrait of resilience and cultural exchange.

King — who’d made her name in the 1960s as half of a prolific Brill Building songwriting duo with her husband, Gerry Goffin — wrote “You’ve Got a Friend” after leaving Goffin and moving to Los Angeles with her two young daughters. Here she remade herself as a low-key singer-songwriter dispensing wise yet unflashy tunes about love, home and family — part of a gentle resetting of pop’s mood after the turmoil of the previous decade.

Cut like the rest of the album at A&M Studios on La Brea Avenue, “You’ve Got a Friend” helped drive King’s 1971 “Tapestry” LP to sales of more than 10 million copies and to a boatload of trophies (including album, record and song of the year) at the Grammy Awards; the singer’s pal James Taylor, whom she’d performed with for the first time in late 1970 at the Troubadour, topped Billboard’s Hot 100 with his own cover of “Friend” featuring background vocals by Joni Mitchell.

On the advice of Atlantic Records’ Jerry Wexler, Hathaway also recorded “Friend” as a studio duet with Roberta Flack, a fellow Howard University alum; their take sat in the Top 20 of Billboard’s R&B chart as Hathaway began his run at the Troubadour — popular enough that the audience on “Live” erupts at the sound of Hathaway’s opening organ lick.

Carole King at A&M Studios in Los Angeles in 1970.

(Jim McCrary / Redferns via Getty Images)

Indeed, the crowd is really the thing in this live version of “You’ve Got a Friend.” Hathaway and his band — including guitarist Phil Upchurch, bassist Willie Weeks and 16-year-old Fred White (soon to be of Earth, Wind & Fire) on drums — are cooking, to be clear; the groove is funky and viscous, and Hathaway’s vocal is gorgeous, not least in his nimble ad-libs.

But it’s his interplay with the few hundred folks in the room that elevates the recording to a deeply moving piece of art.

For King (and Taylor), the song’s promise of unflagging support is an intimate one-to-one matter; their renditions use homey acoustic arrangements to create a picture of two people exchanging confidences. In Hathaway’s hands, “Friend” is about community: Before he even asks them to, the audience takes over for him on lead vocals in the song’s chorus, a congregation in all but name.

Given the proximity to the civil rights movement, it’s impossible to hear Hathaway’s “You’ve Got a Friend” as disconnected from the struggles of Black people. At the Troubadour (as in his and Flack’s duet), he nixes the song’s second verse to arrive more quickly at the bridge, in which he describes a cold world filled with those who’d “hurt you and try to desert you” — even “take your soul if you let them.”

As Emily J. Lordi notes in her 2016 book about “Donny Hathaway Live,” the crowd lays back during the bridge before rejoining Hathaway for the song’s second chorus; the decision, somehow spontaneous and collective at once, is an expert bit of record-making on the part of an audience that, according to legend, hadn’t been told the concert was being taped.

“From this perspective,” Lordi writes of Hathaway’s fans — some number of whom had surely availed themselves of the Troubadour’s bar, as she points out — “they are not stealing the show so much as they are holding him up, ensuring he won’t sing the duet alone.” Together, performer and audience are turning back (not that they necessarily had a choice) to the ugly truths that singer-songwriter music sometimes sought to move past.

In this way, Hathaway’s “Friend” becomes a reinvention of a reinvention — an act of moral imagination about as American as it gets.

This wasn’t the only instance of a Black soul singer interpreting a tune King had written as a single mom newly arrived in L.A.: In May 1972, the Isley Brothers released a sultry cover of “It’s Too Late”; a month after that, Aretha Franklin’s live “Amazing Grace” album mashed up “You’ve Got a Friend” with “Precious Lord, Take My Hand,” completing the gospel-ification that Hathaway had begun in a bastion of white rock culture temporarily remade as an African American church.

Yet in Hathaway’s “Friend” you can hear the whole story American music tells about identity and belonging (and about commercial ambition).

“This might be a record here,” Hathaway tells the crowd near the end of the song, and so it was — a document of adaptation, a testament to borrowing, a bulwark against pretty fictions.

Taylor Swift and Travis Kelce’s love story will reach new heights this week with a totally low-key two-day wedding bash at New York’s Madison Square Garden.

The billionaire pop titan and the NFL star, both 36, kicked off their wedding festivities Thursday afternoon with a rehearsal dinner at the famed sports arena. They have all but confirmed that they will then exchange their vows Friday in a grand MSG celebration with around 1,000 guests (including Swift’s celebrity friends and Kelce’s fellow sports stars) in attendance, at least according to numerous reports. The celebrity wedding will also reportedly feature heightened security around Madison Square Garden, performances by Stevie Nicks and Tim McGraw, and a red carpet outside the arena.

Representatives for Madison Square Garden, Swift and Kelce have not responded to The Times’ requests for comment.

Swift and Kelce’s relationship began nearly three years ago during the singer’s blockbuster Eras tour with a simple request and a friendship bracelet. Read on to revisit the roots of Swift and Kelce’s whirlwind romance turned generational love story, from the Kelce brothers’ “New Heights” podcast to a romantic garden engagement.

July 2023: Travis Kelce shoots his shot

Swift and Kelce’s romance can be traced back to summer 2023, when the Kansas City Chiefs tight end attended an Eras tour concert at Arrowhead Stadium, the Chiefs’ house. Kelce — a self-proclaimed Swiftie — told brother Jason Kelce in an episode of their “New Heights” podcast that he had a friendship bracelet with his phone number on it but didn’t get it to the singer. “I was a little … hurt I didn’t get to hand her one of the bracelets I made for her,” he said at the time. Eventually, the two got in touch.

September 2023: Taylor Swift shows up for her guy

Taylor Swift watches the Chiefs take on the Chicago Bears at Arrowhead Stadium in Kansas City, Mo., on Sept. 24, 2023.

(David Eulitt / Getty Images)

The then-rumored romance quickly became commentary fodder for NFL broadcasts (sometimes to sports fans’ chagrin) but took a turn when Swift seemingly accepted Kelce’s personal invitation to a home game. She was seen cheering for him in a private box alongside his mother, Donna Kelce. Soon enough, Swift became a staple in the Chiefs audience. In the following months, Swift and Kelce further solidified their relationship, making it paparazzi-official during an after-party for “Saturday Night Live” and on her Eras tour in November when the singer changed her “Karma” lyrics to reference her budding romance.

February 2024: Super Bowl LVIII (Taylor’s Version)

Chiefs tight end Travis Kelce and Taylor Swift smooch after Kansas City Chiefs defeated the San Francisco 49ers at the Super Bowl in Las Vegas in February 2024.

(John Locher / Associated Press)

Swift and Kelce’s love notably played out at Super Bowl LVIII, where the Chiefs faced the San Francisco 49ers. When the Chiefs won, the Grammy winner joined Kelce on the field, kissing and hugging him. A week before the big game, Swift announced her album, “Tortured Poets Department,” at the Grammy Awards. The album seemingly refers to Kelce in songs “The Alchemy” and “So High School.”

The pair continued going strong throughout 2024. As Swift‘s tour continued, Kelce joined his superstar girlfriend on stage in London. She also returned regularly to Arrowhead Stadium for Chiefs home games during the 2024-25 NFL season. Swift ended her Eras tour in December 2024 and hosted a private wrap party to celebrate her musical marathon. Of course, beau Kelce was in attendance.

August 2025: Baby, just say ‘yes!’

The following year was a relatively quieter one for the couple. Kelce and his Chiefs failed to beat the Philadelphia Eagles at Super Bowl LIX and Swift was in the midst of recovering from her tour and preparing for her newest album. But just when there seemed to be a lull in all things Taylor-Travis, the couple hit some major milestones.

First, Swift finally appeared on the Kelce brothers’ “New Heights” podcast. Remember, that’s where all of this started. The couple, of course, spoke about their whirlwind romance, but the main headline was that Swift would release her album “The Life of a Showgirl” later that fall. With songs “Redwood” and “Wish List,” it was pretty clear Kelce inspired Swift during the songwriting process.

Second, and more importantly, “Love Story” singer Swift announced on Instagram that she and Kelce were engaged. She shared photos from their dreamy garden proposal with the caption: “Your English teacher and your gym teacher are getting married.” Kelce popped the question with an elongated old mine cut cushion set within an engraved gold band. Speculation on the details of their nuptials, including date and location, were almost immediately underway.

Since their engagement, Kelce and Swift have appeared together at a handful of high-profile events including the iHeartRadio Music Awards in March, courtside at Rocket Arena in Cleveland during the 2026 NBA playoffs and the Songwriters Hall of Fame induction ceremony in June, which honored Swift.

For now, welcome to New York, soon-to-be Mr. and Mrs.

THE word “splat” has been on Ian Gillan’s mind for a few years now.

To him, it is a word to conjure with, one to fuel his wild flights of imagination.

To most of us, it summons visions of insects hitting windscreens or ripe tomatoes falling to the floor.

As you will discover, however, the Deep Purple singer and lyricist — he of the legendary full-throated holler — has given “splat” a much deeper meaning.

What if it represents the end of humanity as we know it?

Then, as he suggests with an “optimistic” spin on the notion, “What if we morph into something else that’s metaphysical?”

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When Gillan first considered Splat! as an album title, he thought it sounded “too terminal”.

He says: “I knew how the interviews would go — ‘So this is your last record, right?’ ”

It soon becomes clear from talking to the hard rock survivor that Deep Purple, the last band standing in a so-called “unholy trinity” alongside Led Zeppelin and Black Sabbath, are very much alive and kicking.

When it came to writing themed lyrics for Purple’s 24th studio LP, Splat! screamed out from the pages of the notebook Gillan keeps to record his ideas.

Now, in tall, spidery type, it adorns an album cover housing some of the band’s heaviest, most riff-driven, yet most concise music in years.

As Gillan attests, Splat! summons the devil-may-care spirit of iconic early albums Deep Purple In Rock and Machine Head — and songs like Child In Time, Smoke On The Water and Black Night.

“What I’m hearing now is the band as it was in ’69,” he says.

There’s no doubting that the current line-up of Gillan, founder member Ian Paice (drums), another stalwart in Roger Glover (bass), Don Airey (keyboard player since 2001) and recent recruit Simon McBride (guitar) has hit a purple patch.

“You can give all kinds of reasons, but, quite simply, I think it’s human chemistry,” says Gillan, who lives in Portugal and turned 80 last August.

“The songs are coming easy.

The band is cranking live.

When all the elements work well, they feed off each other.”

He salutes Northern Irish guitarist McBride, who replaced Steve Morse in time for previous album =1, for adding a dynamic gut-punch to proceedings.

He agrees with me that the songs on Splat! don’t “outstay their welcome”, crediting legendary Canadian producer Bob Ezrin (Alice Cooper, Pink Floyd, Kiss) for “keeping the arrangements snappy”.

Gillan recalls how it used to be: “With the band having no leader — we never have really — it was often a case of sitting there and one of us would say, ‘Let’s make this bit longer, let’s put another section in there’.

“We might spend weeks arguing or debating an arrangement.

But Bob just comes in and says, ‘I’m not liking that’, and cuts it out.”

Gillan considers Purple to be “an instrumental band”, with the music always getting written first.

Then it’s time for him to step in with the lyrics and those still mighty vocals, delivered with all the theatricality you might expect from someone who took the part of Jesus on the original Jesus Christ Superstar album.

It’s fair to say that Splat!, also the name of the album’s emphatic closing track, represents one of Gillan’s most ambitious concepts, so let’s return to his thought process.

“For some time now, I’ve been trying to make an album sound as if all the songs belong,” he says.

“There’s one exception on this record and I’m not happy about it,” he announces by way of a slight digression.

When I suggest that the track in question might be Third Call, which seems more to do with sex than metaphysics, Gillan replies: “Oh, how did you guess?

It should have been called Sore Thumb.

“I’ve done my own little album on my computer, replacing it with a song destined to be a B-side or bonus track called Hoot ’n’ Slither, which does fit.”

So, let’s hear about his mind-boggling concept, so big that it almost hurts the brain.

“I’ll probably find myself in pseud’s corner again,” he mutters with a smile, before launching into his explanation.

“I’ve been fascinated by the word eternity since I was eight.

I couldn’t understand how things could go on forever.

As a child, it didn’t seem possible to me.

“One summer night, I started thinking about the end of the road, the end of the country, beaches, the sea, the sky, the stars.

“I started panicking, so I built a brick wall around my universe, as many kids have, I’m sure.

“That was it, I was safe.

And then, a horrible thought occurred to me: ‘What’s behind the bricks?’ ”

Gillan says that “later in life”, Edwin Abbott’s classic novella Flatland, a satirical study of a two- dimensional world written in 1884, got him thinking about other dimensions, the afterlife and spiritual worlds.

Then he considered that the population of Earth had “virtually tripled” during his lifetime.

He continues: “For some years, this explosion has seemed unsustainable to me and that the only way to escape is not by flying through the solar system in tin cans.

“It has to be metaphysical.

I’m hopeful.

Perhaps we might become some sort of intelligent energy.”

Gillan draws my attention to the song The Only Horse In Town, one of the last recorded for Splat! and driven by Airey’s fulsome keys and McBride’s shimmering riffs.

It was inspired by a real-life encounter with someone close to death near Noble Street Studios in Toronto where Purple were doing a recording session.

“The snow came down and we saw there were these vagrants living under a blue tarp,” he says.

“The place looked like a rubbish dump.

“We offered them some hot food when we went out to get our takeaway for lunch — and they didn’t want it.

They just wanted dollars for crack.

“I thought of this one guy who probably had days to live.

I imagined his final hit.

“Then (in my mind) I stepped into his shoes and started walking across America until I got to the high plains of New Mexico and found this derelict film set.

“Along with a clapped-out old horse, this guy finds solace, a haven.

It fits very nicely with the overall pattern of the album.”

Next, we take a dive into more of the Splat! songs, starting with the three-minute opening blast, Arrogant Boy, about a bloke called Billy.

“The attitude in the music screamed frustration to me,” says Gillan.

“I had this idea of an ordinary guy down the pub who doesn’t give a monkey’s toss about what goes on at the higher levels of society.

He’s sick of the political pendulum.

“Everyone knows that nothing’s happened in the last fifty, sixty years.

We’ve built nothing.

We’ve done nothing.

We’ve gone backwards in almost everything.

The great institutions are useless piles of rubble.

“So Billy is sticking his head up out of a hole and saying, ‘Get on with it!’”

This brings us to the wild Diablo, recorded in Nashville and featuring guitar solos from none other than country rock star Keith Urban, whose studio the band were occupying.

Here, Gillan truly lets his imagination run riot.

“Diablo is a place where young people go for their rite of passage.

It’s dangerous and many don’t come back,” he says.

“This is the story of Dra-ma.

She pickles her knuckles and has 20 fights before beating up Guts McKenzie in the final.

She celebrates with a bucket of wine and falls into the glitter pool.

It’s all a bit surreal.”

You may think Gillan’s gone off on one but this ceaselessly entertaining character is also partial to a bit of humour.

The Rider is not about someone on a horse, but more about the notorious demands of rock stars when they go on tour.

He says: “I’m not going to mention his name, but he’s a very famous musician in a very famous band.

I was sitting having a beer with him and he said, ‘Someone got a fear of flying so we hired a psychologist.

The next week, there were four psychologists on the plane, one for each member of the band.

Then someone got a bad back so we got a physiotherapist.

The next week, there were four of them.’’

So what about his band’s riders?

“Deep Purple have never been extravagant,” he answers.

“When I was with Black Sabbath, it was a slightly different story, more funny than extravagant.

“I remember Geezer [Butler] complaining that the ham was round and the bread was square, that his sandwich was an incongruous mess which didn’t look right.

“My rider has always been very simple.

It’s bread and cheese, some tea bags — it has to be PG Tips — and a kettle.”

Elsewhere on Splat!, Jessica’s Bra has got to be one of the most eye-catching song titles of the year.

It was supposed to be Bar but, as Gillan admits: “I can’t see too well and make loads of typos these days.

“It’s a sort of Irish pub song.

I grew up in pubs with a beer in one hand, a fag in the other, and in fantastic company.

“My pals were drinking pals — I didn’t smoke a joint until I was 38.

We were pub guys who got locked in, behaved outrageously, but it stayed within the walls.

No harm done.”

Guilt Trippin’, with its gorgeous piano intro and outro and screaming vocals, is about “God and Charlie Darwin having a pint”.

Gillan says: “God is saying, ‘We’ve got to get the numbers right next time,’ but Darwin just goes, ‘Humpty, humpty’.

He doesn’t want to interfere!”

The Lunatic, inspired by the plight of George Orwell’s 1984 protagonist Winston Smith, summons a bout of indignation from Gillan.

“I can’t believe the prescient nature of that book, which was published in 1949,” he says.

“More recently, the NHS proscribed the word lunatic.

I take great offence at that.

Most of my friends are lunatics and always have been — and I happily follow the moon around.”

Through the song Scriblin’ Gib’rish, Gillan vents his spleen at those online matrixes where you have to identify motorbikes or traffic lights, “proving that I am a human being to a f***ing robot”.

Of note here is that he’s heading to UK theatres next spring for his Talking Gib’rish spoken-word tour, a departure from the arena-sized norm.

It’s an opportunity for him to regale audiences with stories from more than six decades in the business.

On a personal level, it’s clear that Gillan is pressing on despite the rigours of live performance and, as he reports, “failing eyesight”.

“Over the past few days, I’ve been taking a deep breath and looking at the future,” he says.

“A few years ago I was doing a talk and the theme was positive ageing.

I realised that when people retire, they stop making long-term plans — even if it’s small things to do with the house or garden.

“But I keep thinking some years ahead with projects, and don’t worry whether I complete them.

“That’s a self-creating energy, like nuclear energy.

It’s incredible.

So, I’m making long-term plans and to hell with it!”

If that’s the template for his mind, what about his body?

Alluding to his younger self — that skinny figure in tight flared jeans with a shaggy mane — he says: “Obviously, I used to be quite athletic when I was young, but I can’t pole vault anymore!

“Well into my sixties, I used to run upstairs two at a time, and now I run down ten at a time.

“So, you’ve got to have a laugh.

Otherwise, you’d sit down and cry.”

One thing is for certain, Ian Gillan and Deep Purple are NOT about to go Splat!

DEEP PURPLE

Splat!

★★★★☆

In an era hallmarked by what experts call a “sex recession,” Six Sex is a symbol of liberation.

The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.

To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.

“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”

In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”

That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)

“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”

“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.

“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”

Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.

Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.

This interview has been condensed for clarity and was translated from Spanish to English.

“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.

(Catalina Jacobo)

I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal?
[laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.

Is there an element of separation at all between the artistry and you as a person?
I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.

Is it weird to put those intimate experiences on an album?
No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.

I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance?
Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.

Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.

Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club.
I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.

You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life?
These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”

There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work.
[laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.

How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception?
I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.

Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music?
I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.

That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.

FIRST REVIEW CONFESSIONS II

★★★★★

AS one of the most talked-about, celebrated and frequently derided pop stars of all time, returning with her first album in seven years is a high-stakes move for Madonna.

The Queen of Pop has never left it so long between albums in her 43-year career. And she has taken an even bigger risk by recording a ­follow-up to her much-lauded 2005 dance-pop opus, Confessions On A Dancefloor.

But rather than playing it safe, ­Confessions II sees her doing just that — confessing.

She addresses everything from how she failed her eldest daughter Lourdes to her regrets over her relationship with her late brother, Christopher Ciccone.

And also, surprisingly, how her first husband, Sean Penn, 65, made her feel during their short-lived marriage.

The most venom-tongued track is titled Bizarre, in which she squarely attacks the Hollywood A-lister, who she was married to from 1985 to 1989.

She references the 1968 Shelby GT500 convertible she gave him as a wedding gift and his conviction for reckless driving in 1987.

And she also lays into how Penn was “threatened” by her and claims he resented her while they were together.

Madge sings: “Love is the strangest thing. Just when you think you’ve finally let go, it comes back to you.

“Movie star, deep blue eyes. In Hollywood, we’re a perfect prize.

“He drove way too fast, Shelby Cobra wasn’t meant to last.”

Earlier the lyrics had turned to anger, as she sings: “Roll out the carpet for us, but you don’t share it.

“All ’cause you’re threatened by me, you won’t admit it.

“The little things that you do don’t make me want you. Who knew love could be so bizarre?”

And in a later verse, she adds: “I know I left you behind and you resent me.

“A thousand reasons why you could never have me.

“The thought of being with you is so indecent. I guess you’ll never know my dirty little secret.”

Penn isn’t the only subject of her scorn, with Betrayal appearing to be about her stepmum Joan, who died in 2024 while the album was being made. Madonna did not attend her funeral.

The singer was five years old when she lost her mum — who she was named after — to breast cancer. Three years later, in 1966, her dad Silvio married Joan, who worked briefly for the family as a housekeeper.

In the opening verse of Betrayal, Mad­onna sings: “This is a story of betrayal. You couldn’t see your fall from grace.

“So take the hammer, hit the nail. You’ll never take my mother’s place.”

And later in the track, she adds: “You betrayed me, you enslaved me.”

But Madonna, 67, shows her softer side on The Test, which sees her and Lourdes, 29 — the eldest of her six kids — open up about their at-times difficult relationship.

On how her daughter was thrust into the limelight because of her own fame, Madonna sings: “Little star, I tried to put you on a pedestal, you didn’t ask for all the flashing lights.

“I didn’t think of how we could disturb, or how it hurt. I wish I knew the pain I caused.”

She continues: “Sometimes I think you wish I’d go away, but the shadow stays, and it’s OK to be yourself.”

Madge also appears to touch on her 2023 brush with death, when she was found unresponsive at her New York apartment and placed into a coma after suffering from an infection that led to sepsis.

Lourdes, 29, who Madonna had with fitness trainer Carlos Leon, was among those that rallied around her in hospital.

Madonna sings: “You made me whole when I was broken, too. I hope and pray I can do the same for you.”

Paying tribute to her mum, Lourdes sings: “You are my reason to be, what I want or look like, what I wear, all the clothes on my back, and what I attract.

“I trace the line of what you have sewn. Keep my own design. Make it a landscape. Make it alive.”

Elsewhere on the album Madonna makes peace with Christopher, who she was accused of “dropping” as her creative director in the early-2000s, and who later wrote a book titled Life With My Sister Madonna.

The once-close pair never fully repaired their relationship and he died of cancer at the age of 63, in October 2024 although she says he now visits her in her dreams.

On the song Fragile, she sings: “We shared a name, a home. We shared a fragile bond, now you’re gone.

“We laughed, we cried, we held each other’s hands. We had each other’s eyes and they belonged

“This is the time I hate the most, the words inside my heart

“I know you’re fragile ’cause you’ve been hurt, been let down.”

At the end of the track, she adds: “Late last night I was fast asleep, you came to me in a dream.

“You said don’t forget about me, don’t forget to be happy.

“So I hope you found a higher ground.”

The 16-track album clocks in at almost 64 minutes, and is a metaphor for a night out, starting with the heavy, pulsating beats of a club.

Then the final five songs represent the evening winding down, with Madonna spilling out her deepest feelings with the bravery and vulnerability that comes from a night of loud, messy partying.

When she reaches the last track L.E.S. Girl — about her life pre-fame on the Lower East Side of New York — you can hear traffic beeping, signalling she is finally on her way home as the morning rush hour starts.

It’s a neat arc for the ambitious album, which she once again made with English producer and songwriter Stuart Price, who she teamed up with on the first Confessions album.

But this record is much darker, heavier and grown-up.

And as well as being symbolic of a single night out, Madonna uses it to represent key parts of her life and the moments that have made her.

The most brilliantly bombastic highlight comes in Danceteria — named after the New York nightclub where she found her friends in the industry and where DJs played her music for the first time.

It’s a feel-good number with a Vogue-style rap and namechecks for everyone from her pal Debi Mazar to artist Jean-Michel Basquiat and even The B-52s.

Another highlight comes with Love Sensation, which appears to be a tribute to her boyfriend, Akeem Morris, 30.

She started dating the former football player in 2024, two years after ending a three-year romance with dancer Ahlamalik Williams, 31, and they now live together in London.

Madonna sings: “When I feel alone I always want to bring you near ’cause you bring a smile right here. You chase away my darkest hours.”

And in the chorus she continues: “Baby, come and get with me, there’s something that I gotta do.

“Baby, when you’re here with me, there’s nothing that we cannot do.”

So far in her career Madonna has sold 450million albums, and counting.

And with this project, she proves there is still plenty of passion, ambition and talent.

Undoubtedly it is her most cohesive and accomplished album since the original Confessions, 21 years ago.

And long may the Queen of Pop ­continue to reign.

LOVE, BETRAYAL AND ECSTASY ON SWEET 16

I Feel So Free: The opening track, released in April, is a throbbing song with breathy vocals and a sample of the 1989 Lil Louis acid house track French Kiss, complete with orgasm. It’s a statement of what’s to come as she says: “On the dancefloor, I feel so free.”

Good For The Soul: Heavy-sounding verses make way for a buoyant and optimistic pop chorus, all about how important letting your hair down is. It was written on her first session for the record.

One Step Away: Madonna dives headfirst into house music on this pulsating track about the release she feels in a nightclub. Over the beat, she utters: “The dance floor is not just a place, it’s a threshold. A ritualistic space where movement replaces language.”

Bring Your Love: The credibly cool lead single features Sabrina Carpenter, uniting two generations of pop stars who are resolute in their determination not to be swayed by naysayers. In the chorus they say: “Bring your love ’cause you cannot shake me. Bring your love ’cause you’ll never break me.”

Danceteria: “Everyone here is a work of art,” Madonna sings on this wonderfully poppy single, inspired by the New York nightclub she went to as a youngster.

Read My Lips: Spanish guitar and a guest appearance from Colombian singer Feid give this a different feel, though there’s a Latin trap beat to keep the party going. It’s clear Madge isn’t happy on it, though, singing: “You cut me with your lies, ’cause you hurt me with your kiss.”

Everything: It opens with strings reminiscent of her 1992 track Deeper And Deeper, but evolves to have regular house music breakdowns fit for a packed Ibiza dancefloor. And she’s worked up, spitting: “It’s not OK, I don’t f*** with it.”

Love Sensation: Pop makes a return on this heart-warming crowd-pleaser. “There’s nothing that we cannot do,” she repeats as the track builds to euphoric choruses. This is destined to be a future single.

Love Without Words: An ode to partying, starts with the sound of smoke being pumped on to a dance floor. “Call it trance, call it house, call it love without words,” she sings.

Bizarre: Madonna teamed up with super-producer Martin Garrix for this revenge track about her ex Sean Penn. The melody, complemented by strings and hints of EDM production, is enough to have people throwing their hands in the air.

School: “I can make moves on the dance floor, I can make love on a man’s floor,” she breathlessly coos on this track, on which her vocals are heavily distorted. It’s one of the weaker songs.

Fragile: There’s a major change of pace with break beats and strings, as she sweetly sings about her late brother Christopher. Her voice truly takes centre stage here.

My Sins Are My Savior: She is joined by Belgian rapper Stromae on this dark and moody track, which wouldn’t sound out of place on 1992’s Erotica album. Reflecting on the criticism in her career, she sings: “I was not lost, I was just broken. They tried to take me down, they tried to take my crown.”

Betrayal: She teams up with producer Mirwais, who she first worked with in 2000, on this 90s-inspired track, featuring brass and piano over bleak and mournful vocals.

The Test: Madonna has said Lourdes approached her about working together to heal their rift, and it certainly sounds cathartic. Her daughter’s voice here is far smoother, but they blend exquisitely.

L.E.S GIRL: It’s the end of the night, Madonna is on her way home and she’s reflecting on when she was a “Lower East Side girl, lost in a fragile world.” It’s a tear- jerker, and triumphant look back at how far she has come. The perfect ending.

Sitting in the control room of their home studio known as the Centre of Mental Arts (COMA for short), Long Beach husband-and-wife duo Scott Montoya and Julia Kugel smile as they discuss new music they recorded for their band Soft Palms. Their new album, titled “In Echo,” has been in the works for over five years. The 10-song album, out Friday on Everloving Records, was inspired by their frustration about how they feel the world has devolved since 2020.

“The first record I was like, ‘I want to give the world a hug,’” Kugel says. “And then this one I was like, f— this world.”

For Kugel and Montoya, the album serves as the latest chapter of their creative and personal journey. The pair met in 2012 at a music festival in Dallas (“The most romantic city,” Kugel quips), while playing in the Atlanta-based band the Coathangers and Orange County’s the Growlers, respectively. They bonded over a shared disgust at gladiator shoes, and soon thereafter, were in a relationship.

By 2017, they were married and settled in Long Beach. Despite Kugel’s role in the Coathangers at the time (Montoya left the Growlers in 2016), the couple wanted to form a band. Previously, they recorded a pair of songs that constituted Kugel’s second solo seven-inch single. That experience made them comfortable knowing they could balance their professional and personal lives.

“He’s super easy to work with,” Kugel says of Montoya, who sits beside her, trying to hide a smile. She looks at him and continues, “he’s very talented and very patient.”

“When we were in our other bands, we used to meet up on tour,” Montoya, who also produces and engineers for other artists, says. ”You see the absolute worst of people on tour … so this is nothing.”

To kickstart Soft Palms, Kugel drew from a batch of songs she had previously written that had no home. Being able to record in their own studio allowed the pair to craft songs without feeling any pressure to meet a deadline.

By late 2019, the pair put the finishing touches on their self-titled debut. When the record was released in July 2020, the pandemic was still in full force. The pair were disappointed and upset by the state of the world, and after a few years of stewing, Kugel and Montoya got started on a second album.

Don’t be fooled by its breezy ’60s-analog vintage pop sound. Soft Palms are angry, and that informs the spirit of “In Echo.”

The pair points to “Radio” as the album’s bellwether. First released in 2025, the song rails against how, over the past handful of years, people have fought for the sake of fighting, with no end in sight.

More strikingly, on the biting “Nervous as Hell,” Montoya points to Fox News as “infecting everyone’s parents.”

“I did some digging because I couldn’t believe something that hateful existed,” he says of the network, specifically its landmark $787-million settlement with Dominion Voting Systems. “It turned it from this horrible thing into this s— business that has taken advantage of the elderly and destroyed families.”

That anger continues on the angsty rocker “The Wedding Song.” Kugel points to attending a wedding where a family member married a “total raging maniac,” and how they dealt with the buildup of delicately balancing being cordial yet firm.

“He [the family member] goes, ‘I just want you to show up and shut up!” she says. “I was like, ‘Well, firstly, f— you. Then secondly, this is a song — you just handed me gold.”

Since settling in Long Beach, for the last 10 years Kugel and Montoya took it upon themselves to help foster a positive, artistic community. It’s that mindset that pushed them to found and operate their 501(c)(3) nonprofit called Studios for Schools with the goal of providing recording equipment to underprivileged schools.

Their DIY work ethic in entertainment was also the driving force behind Happy Sundays, a free Long Beach-based music festival. Running for 10 years, the fest created a block party in the city’s Zaferia neighborhood that eventually expanded into a full weekend of shows across stages set up at local businesses to host a diverse lineup of veteran and up-and-coming area bands. Though the event was paused this year so they can focus on the new album and book, the couple plan to bring it back in 2027.

“It was like a statement in that way of like f— these giant prices, VIP experiences and all of that stuff,” Kugel says. “It’s the anti-music festival and a celebration of community.”

Keeping with that spirit, and drawing from the experiences of their two-decade careers, last month the pair released a book titled “How to Be Self-Reliant in the Music Business.” The genesis of this self-published guidebook occurred when the pair realized they were not receiving a portion of a royalty stream they were owed. They knew that if they were in the dark on the issues they thought they knew, others likely were as well.

“We decided to turn it into a book because we realized there’s so much stuff that few artists know about on their own,” Montoya says. “I want people to understand the scope of what they’re actually getting into, and the reality of their situations.”

“It’s a very thorough overview,” Kugel adds.

The book includes information beyond what one would find in Donald S. Passman’s longstanding industry bible “All You Need to Know About the Music Business.” With assistance from a lawyer friend and a CPA family member, the pair addresses topics ranging from backstage etiquette to managing social media to dealing with record labels and publishing companies. They hope that it will provide a blueprint for bands old and new to better navigate music’s notoriously choppy waters. Their accessible, snack-size chapters move fluidly as they explain the realities artists face in 2026.

Battling through the disappointment of the first part of the decade allowed Kugel and Montoya to find their creative way. Armed with this infusion of activity across various disciplines, the couple is inspired to continue to shake their way out of the past. Though focused on their impending U.S. and European tour, the duo promise that the next Soft Palms album won’t take as long and are mulling over their next music-industry book project. For now.

“It’s a lot to keep up with all of these projects,” Montoya says. “We work all day, every day. And it’s been cool to see signs that it’s paying off.”

Spanish painter Nieves González arrives in Los Angeles for her first U.S. solo exhibition having already experienced a taste of fame.

The 29-year-old caught the attention of the art and fashion worlds last year after being discovered on Instagram and commissioned to paint the cover of Lily Allen’s album “West End Girl.” Depicting the singer as a Baroque aristocrat clad in contemporary designer fashion, the portrait helped propel González onto an international stage.

Collectors have taken notice. The 13 paintings in “A Friendship Story,” opening Saturday at Richard Heller Gallery in Santa Monica, have already sold out, according to the gallery, with prices ranging from $4,000 to $20,000.

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Elle magazine dubbed González “Fashion’s Favorite New Artist,” while exhibitions in Rome, Paris, Belfast and Bilbao, Spain, expanded her reputation across Europe.

González developed her classic yet defiantly modern approach while studying at the University of Seville, where Spanish masters such as Diego Velázquez and Francisco de Zurbarán painted in the naturalist Baroque tradition. Drawing liberally from fashion, art history and everyday life, she often dresses the subjects of her portraits in puffer jackets — garments she wears herself during the cold winters of Granada, Spain, where she lives. The material, she said, recalls the sculptural rendering of fabric in paintings by Zurbarán and Velázquez: the folds, the volumes, the high shine.

Nieves González often dresses her subjects in puffer jackets.

(Genaro Molina / Los Angeles Times)

“It works beautifully from a visual standpoint,” she said, speaking Spanish during an interview at Santa Monica’s Bergamot Station a few days before the exhibition opened. Wearing blue jeans and a pink button-down blouse, she echoed the pastel blues and pinks that appear throughout many of the works surrounding her.

“Fashion inspires me,” she said. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same,” she said. “The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”

This fall, González’s painting “La Sfida” (2025) will appear in the Städel Museum’s exhibition “Mary Magdalene. Sin. Pray. Love” in Frankfurt, Germany, alongside works by Lady Gaga, Marlene Dumas and Auguste Rodin. The painting depicts Mary Magdalene with long, flowing hair, draped in a regal red garment and clutching a skull — a contemporary interpretation of one of Christianity’s most enduring figures.

“Nieves González is the youngest of these artists and, at the same time, probably the one who most closely follows in the tradition of the Old Masters,” curators Bastian Eclercy and Stefan Roller wrote in an email.

The Santa Monica exhibition marks an evolution from the paintings that established González’s reputation. Earlier works often centered on solitary women posed with the self-possession of royal portraits or religious icons. “A Friendship Story” focuses on relationships between pairs of women, exploring friendship, intimacy, support and shared experience.

For González, friendship is one of the most profound aspects of women’s lives and a subject she felt deserved greater attention in painting.

Victoria Rios, a curator who works with González, said the artist’s paintings “rewrite the narratives of the past, rewrite the history of martyrdom and place women at the center.”

“Nothing in her painting is arbitrary,” Rios said in an email. “Every formal decision is also an ethical one.”

“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” Nieves González said. “It seemed like a way to elevate the concept of friendship.”

(Genaro Molina / Los Angeles Times)

González frequently turns art historical conventions on their head. In “Salir a robar caballos: Go out to steal horses,” she replaces the archetypal portrait of a gallant man on horseback with two young women dressed in puffer and vinyl jackets, posed like contemporary Amazons atop rearing horses.

“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” González said. “It seemed like a way to elevate the concept of friendship. It also has an element of play, adventure and fun, since having fun is part of the bond too.”

The artist also sees her work through a feminist lens.

“We live in a patriarchal society, and so, unfortunately, I belong to the oppressed segment of that society, and my work relates to that,” she said. “It stems from a struggle, an understanding and a process of redefining concepts that we have historically established as normal, natural and habitual.”

“I am interested in portraying us as brave and powerful, sometimes even with an air of haughtiness,” she said.

Another painting, “Something’s crossed over me and I can’t go back” (2026), captures González’s fusion of historical and contemporary references. Two women dressed in green and pink fur cradle each other’s heads, reimagining medieval depictions of cephalophores — Christian martyrs who carry their severed heads while continuing to preach or pray.

The title comes from a pivotal line in the 1991 film “Thelma & Louise,” marking the turning point for Geena Davis’ character Thelma, fully committing to her ultimately fatal adventure with Susan Sarandon’s Louise.

Nieves González, “Holding You,” 2026 (oil on canvas).

(Genaro Molina / Los Angeles Times)

González builds each painting from what she calls a “Frankenstein” — a digital composite assembled from archival photographs, found images and reference material. The painting process then takes over. A mid-project visit to the Prado Museum in Madrid, for instance, might send her back to the digital sketch to pull in a compositional element from Velázquez before returning to the canvas. “The final result often ends up being completely different from what I initially envisioned,” she said.

Heller began representing González, whom he calls an “original voice,” last year after being introduced to her work by another painter.

Staging her first U.S. solo exhibition in Los Angeles rather than New York reflects what he sees as a more relaxed environment for an emerging artist, without the glare and expectations of the New York art world.

“L.A. feels a little less constrained,” Heller said. “It feels a little more free.”

González’s portrait of Allen is currently on view at London’s National Portrait Gallery, hanging in the same room as a self-portrait by David Hockney. She said while it “has been very significant in terms of media exposure,” exhibitions and professional opportunities were already in motion before the album cover brought wider attention.

“I’ve always said that what I want to do in life is make a living from painting,” she said.

Mission accomplished.

MYLES Smith reveals he was physically abused by his father in his heartbreaking debut album My Mess, My Heart, My Life. 

The Luton-born star, who was raised by his mother Deborah, recalls his difficult childhood in emotional tracks My Mess and Grandma’s House. 

Not since Lewis Capaldi’s astonishing 2019 album Divinely Uninspired To A Hellish Extent have I heard a more impressive and honest debut record, with Myles pouring his truth into the 15-track album. 

Created over the past three years, as Myles’ career went stellar thanks to his 2024 runaway hit Stargazing, the star takes his fans back to his beginnings. 

Lead track My Mess reduced me to tears as Myles regaled his relationship with his father against a backdrop of an upbeat, acoustic guitar. 

He sings, “I was born into a fractured family, where a word can start a war. 

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“Lost my tongue, when I spoke my peace, yeah he grabbed my shirt and he bruised my cheek. 

“Sad a man had to go toe to toe with a boy thirteen.” 

Emotion-packed Grandma’s House, where Myles, 28, recalls finding his safe space as his mum Deborah worked to make ends meet, is packed with emotion and reflection. 

On the track he sings: “Take me back to my Grandma’s place. 

“I was 7 years old when I learnt how to cook, and 10 when I started to sing. 

“Oh she’d bring me to church, and she’d cover my ears, when my Dad would scream horrible things.” 

Myles’ signature acoustic guitar underpins every track, with Hate You untangling the realities of navigating love and Sertraline seeing Myles exploring mental health and complexities surrounding it. 

This is an album for the brokenhearted and the hopeful, with the beautifully worded Lifetime and the dreamy vocals on Heaven – which is my favourite song on the record – seemingly bringing Myles’ the happy ending he’s been searching for. 

Over the past two years, Myles has grown in prominence – winning the Brit Awards Rising Star gong as well as earning an Ivor Novello Award for Stargazing. 

To date Myles has amassed over 4.7billion streams worldwide and is one of our country’s most exciting new stars. 

Opening up about the record, Myles said the album was born out of “therapy notes, old memories, relationships, insecurities, heartbreaks, mistakes and all the moments that shaped me.” 

The latter half of the album moves towards a positive note, with Nice To Meet You and Gold showing Myles coming out on the other side. 

Myles said: “It was important to end the album, and particularly this project on a high. 

“I feel like I always try to mirror my music with my live shows and my live shows are always about taking people on an emotional journey and then sending you home happy. 

“It is that sense of hope which lingers on as Gold closes the album. 

“Even though I may appear miserable for a lot of this album, I genuinely always walk with hope and I walk with joy at the end of the day.” 

Heaven, mark my words, will become a live show staple for Myles, who with My Mess, My Heart, My Life has more than proven he can hold up against the greats when it comes to writing songs about love and loss. 

★★★★★

Lotts of stars at V&A

It was all-white on the night for Maya Jama and Pixie Lott as they stood out in these dresses at the V&A Museum’s summer party.

They were joined at the bash by model Leomie Anderson, in an open white suit with gold jewellery, Ellie Goulding sporting a blazer dress, and Sir Mick Jagger with his fiancee Melanie Hamrick.

Once inside the museum, in London’s South Kensington, guests got the chance to schmooze around the exhibits, while Jessie Ware sang live in a sequin gown.

With tickets flying for her autumn tour, they were lucky to see her.

But access to the fundraiser, for those who did pay, cost £3,999. That is one expensive night out.

KAISER CHIEFS frontman Ricky Wilson will play Teen Angel in Grease: The Immersive Movie Musical.   

The show is being put on by Secret Cinema from July to September at Evolution London in Battersea Park. 

Ricky, left, said: “At school I was in Grease. I was not yet the pop sensation I am today and I only really wanted to do it because I fancied the girl who played Frenchie,  

“I was Doody, so this is my chance to show everyone I should’ve got a bigger part.  

“I don’t believe anyone from that production is now a professional singer – so in short, I win.” 

Sian’s up for toy techover

You will hear some surprisingly familiar voices in Toy Story 5 if you head to the cinema this weekend – as Capital Breakfast’s Jordan North and Sian Welby have landed roles.

They voice a garden gnome and inflatable flamingo in the long-awaited Pixar sequel, and mum-of-one Sian has high hopes for its impact.

Speaking about the film, which is about tech replacing toys, Sian, right, said: “I do think it’s going to start a massive conversation about screen time.

“It made me want to smash every bit of tech in my house and just get out in the grass and play all the games that I did growing up.

“I think a lot of us are going to watch it and feel guilt. It’s sad we have to grow up so fast because there’s so much magic when you’re younger.”

Best-selling novel One Day is coming to the West End as a musical.

The David Nicholls love story – which has previously been adapted for both the big and small screen – will premiere at London’s Garrick Theatre on November 17, following shows in Edinburgh earlier this year.

Tissues and jazz hands at the ready.

MNEK is back in reverse

MNEK is returning with his first album in eight years.

The singer has today released the single Reverse!!, which samples Lethal Bizzle’s Pow! (Forward) and will be on his Bulldozer record this autumn.

Also out now is Jax Jones’ Pulling Me Back, Tiny Habits’ Anything He Was featuring Matty Healy from The 1975 and Grow Down by Luca George.

Ahead of his opening night in Jesus Christ Super-star in London, Sam Ryder has released What’s The Buzz.

And to support England’s World Cup efforts, Kerry Katona has re-recorded Atomic Kitten’s Whole Again as Home Again to raise cash for kids in care.

She said: “Even if you think it’s s***, please download it so we can give back.”