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Identity of Sir Paul McCartney’s secret childhood crush revealed for first time in star’s new album

HIS love life has been almost as varied as his incredible songwriting catalogue.

Sir Paul McCartney endured the tragedy of losing first wife Linda to cancer and a catastrophic £24million divorce from Heather Mills before finally finding happiness again with American businesswoman Nancy Shevell.

Sir Paul McCartnet’s love life has been almost as varied as his incredible songwriting catalogue Credit: Supplied
Girlfriend and fellow Sixties icon Jane Asher in 1965 Credit: ITV

But today The Sun can reveal the identity of the secret childhood crush who became Sir Paul’s “one that got away” — a pretty neighbour whose striking good looks inspired the opening track to his new album, which tells the story of his childhood in Liverpool.

The record was unveiled at a preview event in London this month, where the legendary Beatles songwriter recalled memories of a pretty neighbour called Jasmine, who lived close to his home.

Today, it has emerged she is retired mum-of-three Jasmine Howe, who left the area and resettled in Hertfordshire before retiring to the New Forest in Hampshire.

And the now 83-year-old’s ­family were stunned to learn of the £800million rock legend’s youthful infatuation — revealing she had “absolutely no idea” about his fondness for her.

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They explained: “It’s a cute story, she lived nearby and knew who he was, but she never got close to him — meanwhile, he obviously felt very differently!

“It’s an amazing story — a very long time ago now, but we’ve chatted as a family in the past about how Jasmine grew up close to Paul McCartney.
Goosebumps

“She just knew him as one of the boys in the local area. It’s enough to give you goosebumps!”

The Boys Of Dungeon Lane is Sir Paul’s first solo album in five years, and critics say it is his “most personal to date”.

Paul with Jane in 1968 Credit: Getty Images – Getty
Paul with first love Dorothy ‘Dot’ Rhone Credit: Supplied

The title is taken from Days We Left Behind, a wistful acoustic track that references Dungeon Lane, near the River Mersey, where McCartney played as a boy, as well as a “secret code” and mysterious promise made to John Lennon at the time, which he insists “will never be broken”.

At a special event, held at the iconic Abbey Road studios in London where the Fab Four ­produced their biggest hits, Sir Paul played tracks from the new record and explained their ­origins — beginning with opening song As You Lie There.

The lyrics recall: “Do I ever cross your mind as you lie there? As you lie across your bed, am I there inside your head?”

Revealing the inspiration to a small invited audience, Sir Paul explained: “Up in one of the ­windows, there was a girl I ­fancied called Jasmine.

“But I didn’t know how to approach her — I never spoke to her.

“The joke was, she did show up later that year and knocked on the door. I was indisposed — I was on the toilet — so I missed Jasmine!”

Turning to his wife Nancy, who he married in 2011, he grinned and quipped: “Sorry, Nancy.”

Prior to meeting his third wife, Macca famously had quite a ­colourful love life.

His first serious romance was with Dorothy ‘Dot’ Rhone, who he met at the Casbah Coffee Club in Liverpool in 1959.

The pair dated for more than two years and even got engaged, but split just before Beatlemania exploded.

In 1963, Paul met actress and model Jane Asher backstage at one of the band’s concerts.

The relationship would last five years and Paul even moved into the family home on London’s Wimpole Street.

Paul with beloved first wife Linda in 1973 Credit: Getty
Paul with third wife Nancy in New York in 2024 Credit: Getty

Jane was his muse and introduced him to the avant-garde arts and classical music scene, which would inspire some of his most famous songs.

Despite being charmed by Jane’s cultured family and domestic life, Paul had secret flings with model Maggie McGivern and US writer Francie Schwartz — betrayals that ultimately shattered one of the Sixties’ most iconic romances.

He met his second wife, model and amputee activist Heather Mills, at a charity event in 1999, marrying her three years later.

Their daughter Beatrice was born the following year. However, the pair split acrimoniously three years later with a very publicly played-out divorce — one that cost the star £24million.

However, the singer enjoyed real happiness with his first wife, American photographer Linda.

They married in 1969, raised four children together, and were ­inseparable until her death from breast cancer in 1998.

Growing up, Sir Paul lived with his parents at 20 Forthlin Road in Allerton, Liverpool, while Jasmine lived with her family on the corner of neighbouring Hurstlyn Road, just 20 yards away.

Both properties still stand in the south Liverpool suburb, nestled in a series of brick-built terraces — though Sir Paul’s is now owned and maintained by The National Trust as a museum.

The Trust operates tours around Sir Paul’s home and also John Lennon’s childhood home nearby.

Inside, the three-bed property has been meticulously preserved as a snapshot of 1960s Liverpool, including some of the family’s original decor — and a blue plaque outside commemorates “The Birthplace of The Beatles” as Paul and pal John would meet there to compose their earliest songs.

Jasmine later married her boyfriend Charles, known to the family by his middle name, ­Christopher, and they had three sons — Philip, Matthew and, amusingly, Paul.

A photograph of Jasmine posted online by a family member shows her looking elegant in a navy blazer at a relative’s wedding, with carefully cropped blonde hair beneath a wide-brimmed hat.

A picture of Sir Paul, later used on a 2005 album cover, taken around the time he was pining for neighbour Jasmine Credit: Supplied
Macca’s modest childhood home Credit: Alamy

The relative explained: “She is 83 now and lives quietly. She wouldn’t want it to become any more of a story than it is — she had no idea that Sir Paul liked her, but she’s happy to leave it as that.

“It’s a good story for our family.”

The album, released on May 29, returns the world’s greatest living songwriter to many of his early memories and experiences, with Sir Paul going on to explain more about his 18th solo collection.

He said: “This was a lot of memories of Liverpool for me, but also any days we’ve left behind.

“Everyone’s got them, school, old mates  . . . It has memories of John in the middle — that’s lovely to go back to. Someone asked: ‘What’s the secret code?’ I’m not telling.

“You make up a lot of stuff when you write songs.”

And that admission may chime with Jasmine’s family, who later jokingly insisted: “She never ­actually knocked on his door.”

On another track, Salesman Saint, Sir Paul turns to his parents. “I was born in 1942, in the war. I was too young to appreciate that, but my parents weren’t.

“My dad was a fireman, putting out fires from the bombs. My mum was a nurse and midwife. But they carried on, because they had to.

“Like people in Ukraine, Gaza and elsewhere now.”

Meanwhile, Down South, one of the album’s most nostalgic tracks, recalls a story of hitchhiking with Lennon and fellow pal and later Beatles bandmate George Harrison.

The lyrics explain: “It was a good way to get to know you before we learned Twist & Shout.”

The Fab Four: Paul, Ringo, John and George in 1963 Credit: Getty
Paul with second wife Heather Mills Credit: Getty – Contributor

And reminiscing about the trip, Sir Paul reveals how he and George climbed on to a milk float.

He says: “There was the driver’s seat, a battery and a passenger seat. George got the battery. His jeans had a zip on the back and it connected with the battery. Later, he showed me the big zip burn.”

The new record was unveiled in Liverpool with a series of cryptic posters around the city.

Artwork for the project was designed by Sir Paul’s nephew, Josh.

It features cameos from Ringo Starr, The Pretenders singer Chrissie Hynde and Texas frontwoman Sharlene Spiteri.

And its release coincides with a series of major Beatles retrospectives — including Peter Jackson’s seminal Get Back documentary put together from restored archive footage that details the creation of their final album, Let It Be, and the band’s break-up.

But still to come is a major new dramatisation of the band’s rise to fame directed by Sam Mendes and with Paul Mescal as Macca.

The blockbuster will be released simultaneously as a quadrilogy in 2028, with each movie focused on one of the Fab Four’s formative years, charting their coming together as the world’s greatest musical group.

Filming with Mescal as Paul, Harris Dickinson as John, Barry Keoghan as Ringo and Joseph Quinn as George has already begun.

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Grammys 2027: When the ceremony happens, deadlines and voting dates

The 69th Grammy Awards will take place Feb. 7 at Crypto.com Arena in downtown Los Angeles, organizers said Tuesday during Disney’s annual upfront presentation to advertisers. The show will be the first to air on Disney’s ABC network (and stream on its Hulu and Disney+ platforms) since the Recording Academy ended its half-century-long partnership with Paramount’s CBS.

Nominations for the 2027 ceremony — which will recognize recordings released between Aug. 31, 2025 and Aug. 28, 2026 — are set to be announced Nov. 16. Final Grammys voting will open Dec. 10 and close Jan. 7.

A host for the show hasn’t been announced. Trevor Noah, who began hosting the Grammys in 2021, said his gig at February’s 68th ceremony would be his last.

Big winners at the 2026 Grammys included Bad Bunny, whose “Debí Tirar Más Fotos” was named album of the year; Kendrick Lamar and SZA, who won record of the year with “Luther”; Billie Eilish and her brother, Finneas O’Connell, whose “Wildflower” took song of the year; and Olivia Dean, who was named best new artist.

Among the albums and songs already thought to be in contention for high-level nods next year are Taylor Swift’s “The Life of a Showgirl,” Noah Kahan’s “The Great Divide,” Bruno Mars’ “The Romantic,” Rosalía’s “Lux,” Ella Langley’s “Choosin’ Texas” and Sienna Spiro’s “Die on This Hill.”

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Clave Especial talks MrBeast, summer EP ‘Afterafter’

Clave Especial is finally taking a break.

In the last two months, the corrido tumbado band from Salinas, Calif., performed at the South by Southwest music festival in Texas—and made headlines by singing a narcocorrido; spoke to Latino students at Cornell University in upstate New York; and even embarked on a impromptu 10-hour road trip to show their support for Juan, a contestant from Mexico on one of MrBeast’s latest challenges who has become a viral sensation.

In fact, the trio— lead singer Alejandro Ahumada, guitarist Leonardo Lomeli and tololoche player Rogelio Gonzalez — felt so compelled to make the pilgrimage to the North Carolina grocery store where Juan has been sequestered for months, that they ditched all press events for their latest EP “Afterafter,” released on April 30, in order to meet and serenade him. The band even awarded a $5,000 scholarship to his son, Angel.

“Why? Because it felt so right,” said Ahumada. “His story connected with us, because we also come from hardworking parents that really gave it all for us.”

As the rush of East Coast travel wore off, Clave Especial returned to Salinas to throw a huge homecoming bash. “It’s like a full-circle moment,” said Ahumada of their May 4 performance at the Salinas Sports Complex.

They joined a video call from their childhood bedrooms to discuss “Afterafter,” a five-track project set to a fiery tempo — 140 BPM to be exact — that is nostalgic for summer days and the never-ending after-parties they bring. The songs were selected from their vault, they said, which includes a long list of tracks that didn’t make the cut for “Mija No Te Asustes,” the band’s 2025 critically acclaimed debut that featured co-signs by Fuerza Regida, Edgardo Nuñez and Luis R Conquirez.

This interview has been edited and condensed for clarity.

What was it like to perform back home in Salinas?

Alex: That’s actually the second time that we come back as Clave Especial. The first show was at the Fox Theater, which was a sold-out show. People were asking us, “Hey when are you guys coming back?” We decided to do it now at the Salinas Sports Complex.

Jumping to the EP, how did “Afterafter” come to be?

Alex: It was more like a fun concept that we kind of had in mind. We were actually working towards an album at a writers camp in Ensenada. It was at the beach. Then we jumped around to Miami, Puerto Vallarta. We caught ourselves jumping around beaches, a lot of parties. We want to give people like a summer EP, something they can slap during the summer when they’re partying.

If “Mija No Te Asustes” is an album about this confident boss man calling the shots, how would you characterize “Afterafter”?

Alex: I think it’s that same guy from the first album, he’s still living it up. In “Mija No Te Asustes” there’s some songs like “Como Capo” that introduce that vibe to this EP, so we just continued that wave. It was our biggest song yet. We knew that people liked us apart from the corridos like “Rápido Soy,” “No Son Doritos,” but I think with “Como Capo” we discovered that people like other sounds and lyrics. That’s what we tried to continue in “Afterafter.”

Musically, how would you describe the sound of this EP?

Leo: One thing about us, when we get in the studio, we play a lot in the tempo 6/8s, this upbeat speed. We always hit the BPM at 140 BPM — that’s the Clave Especial essence.

One of the songs that caught my interest was “Scary Movie,” because it reminded me of a corrido-inspired “Thriller” (by Michael Jackson). It also connects the past album because there’s a phrase where you say “Mija, no te asustes.” Tell me the backstory of that spooky song.

Alex: That’s funny, because I’m going to watch the Michael Jackson movie today. That song was actually composed by someone from Street Mob from Ensenada. I think that song was already in the vault.

Leo: That song was tailored for [the past] album. The [ad lib] was an Easter egg.

I saw that you were all recently in North Carolina at the grocery store where Mr. Beast is doing a challenge. There’s one Mexican dad named Juan competing for the million-dollar prize. You guys went to see him and also gave his son a scholarship. Why was it important for you guys to show up?

Alex: Basically we were in [New York] having dinner. We had some press the next day but we had to cancel on them. We commented on Mr. Beast’s video, and the comment got a lot of likes, we’re like “oh shoot, this is dope, this has a real impact on the Mexican community.” His son had swiped up on us, thanking us for supporting his dad.

We saw that Juan told his son to leave the competition ‘cause he wanted to keep going to school. I think we’re one of the few bands in the industry that went to school. I have my bachelor’s degree from Fresno State. It was something that really resonated with us. We had also just come off a panel there at Cornell University so everything just set the tone. We saw the map. It was 10 hours away, obviously a drive, but this opportunity’s never gonna come. We’re from Cali and this is on the other side of the country and we’re here now. Let’s show that the Mexican community is very powerful, united. Let’s go show some support to Juan and his kid. Hopefully he wins!

The last time we chatted was at the Rolling Stone showcase at SXSW. I didn’t get a chance to talk to y’all afterwards, during the end of your set, you sang a cover of Los Alegres del Barranco’s “El Del Palenque” which venerates the narco leader El Mencho, who was killed by Mexican forces just weeks prior. Why was it important for Clave to sing that song specifically?

Alex:  We just like the song. At the end of the day it’s just music. It’s storytelling. It’s corridos. That’s what corridos is all about, and that’s why I got into the music scene. We just like the song. We’re from Jalisco, from Michoacán. It always turns up the crowd, so we did it for the people. People want to hear corridos. We’ve been seeing the censorship going on, but at the end of the day I don’t think that’s the problem. It’s a lot deeper than that, and music is just music, we’re just storytelling, singing music, having fun on stage.  I don’t know if we had it in our set list or not, but I think we had just played a song prior to that that had the same tones. I was like, keep it going, let’s play this one next. Nothing deep.

So it wasn’t planned?

Alex: No, it wasn’t. Afterwards I was like, “Damn, I sang that.” But, eh, who cares?

Do you guys ever get worried when you sing corridos? Or is that something that you’re able to manage being from the U.S., which provides a layer of protection?

Alex: There’s a famous dicho: El que nada debe, nada teme. Like at the end of the day we don’t owe anybody anything. We do music, we’re here by our own sacrifice. People that know our story know that.



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Maya Hawke on marriage, her new album and the end of ‘Stranger Things’

Maya Hawke sits at a picnic table in Griffith Park with an iced tea and a small notebook and happily reports that she still likes her new record.

“Every other album cycle I’ve done, by the time I got to the point where the album came out, I hated it,” says the 27-year-old singer and actor. “I was just exhausted by the internet and by being public, and I wouldn’t want to post about it. So I kind of tried to build this rollout where it could be enjoyable. And it seems to be working.”

On this recent morning, she’s about a week and a half from releasing “Maitreya Corso,” a set of deep-thinking folk-pop songs about love and art and how the two intersect; to help drum up interest in the LP, Hawke’s fourth, she’s on tour playing intimate live gigs like the one she did last night at the Troubadour, where she was accompanied by Christian Lee Hutson, with whom she made the record.

Hutson, who’s known for his work with Phoebe Bridgers, is also Hawke’s husband: After collaborating on her 2022 album “Moss” and 2024’s “Chaos Angel,” the two were married this past Valentine’s Day in Hawke’s hometown of New York. (You may have seen the pictures in People magazine of the couple on the street with Hawke’s parents, Ethan Hawke and Uma Thurman, and her castmates from “Stranger Things.”)

As we talk, Hawke wears the same vintage Beastie Boys T-shirt she had on at the Troubadour; when we’re finished, she’s got a flight to catch to Denver for her and Hutson’s next show.

I was struck last night by the intense eye contact between you and your husband.
I’ve never played guitar before onstage, and so I think a lot of that is me being nervous and wanting to keep rhythm. I’m looking at his eyes but also at his hands. His chordal shapes are different than mine but I’m following the rhythm to make sure I’m staying in the pocket.

Why didn’t you play guitar before?
I’ve been playing since I was 11, but I reached a point where I was getting better a lot slower than my brother was or than other people in my life. You pick up the guitar to play and then a bunch of guys sit down next to you and they’re like, “Oh, can we jam?” And you’re like, “I don’t know if I can jam. I was trying to write a song and now you’re noodling all over me. You know what? I’ll just put it down.” Later, when I started making music professionally, I met all these extraordinary musicians, and I thought: Why would I play guitar when I’m not as good as you are? Then I really hated doing shows.

Because of that?
I’m not a dancer — I don’t want to be a pop star and do dance moves. I don’t have a big Adele voice. And standing up there and just singing — I was like, I should be at a poetry reading. So I made myself a promise that if I made another record I would have to play guitar and write songs that I can play.

It’s funny: You were both super locked-in during the songs, but then between them your banter was extremely loose.
I wanted to build a show that was a concert I would want to go see. I’m weird — I don’t love concerts, but I do I like it when people talk. I can hear the record at home — what I don’t get at home is a sense of the person.

Who would you say are some of music’s great between-song talkers?
Hmm.

I think Adele might be the best I’ve seen.
She’s really good. I saw her once when I was younger — I had a year where my dad took me to see all the biggest women of that year. I remember thinking: When I leave the theater, I’m filled only with joy and no jealousy because I could never do what she’s doing. That’s a gift from God, and I’m not in competition with that gift.

But after she hits you with that, she’ll just freestyle for three or four minutes.
That’s what I want too — I want to see some humanity, especially these days when everybody is being force-fed so much perfection and so much unattainable grace.

There are a tremendous number of words on this record.
It’s very verbose.

Why?
I love words — lyrics are my favorite part of songs. One of the first songs that got written for this record was “Devil You Know,” which was like an experiment where I wrote this poem in free verse. I’ve been in a fight with my husband about free verse versus poetic form. He’s pro-free-verse, I’m anti-free-verse.

What’s your beef?
My beef is: Free verse is great — I wish you could have spent a little more time making it rhythmically sound.

To you it feels like —
Like a first draft. The confines of a structure make your brain work in a different way: How do I get this idea across in a sonnet or a villanelle? But I tried writing this free verse thing, and I really liked it and wanted to write more things like that. Normally, I love the arrow of a Willie Nelson lyric, which is: What’s the simplest way I can say the most complicated thing? And I have some of that on this record, like in “Bring Home My Man.” But I also was like, What’s the most complicated way I can say the simplest thing?

OK, speaking of that: I read the essay you had this philosopher Justin Smith-Ruiu write about the album. I understood probably 11% of it.
I’m obsessed with him. I read his Substack religiously — it’s called the Hinternet. He’s just a brilliant genius, and I was like, I don’t know what he’s gonna say, and I don’t know if it’ll make sense to anyone, but it’ll make sense to me.

Honestly, some of the songs might also have gone over my head. How important is it to you that the listener grasps everything that’s going on in your music?
Zero percent important. I want people to take from it what they take from it. One of the coolest things in my life has been putting out songs and having people form crazy personal attachments — sometimes communal attachments, where all the people think it’s about the same thing and they’re all wrong. That’s so much more interesting to me than if they just thought it was exactly what I thought it was.

How do you listen to the songs you love? Are you trying to figure out where they came from?
Yes, but I don’t care if I’m right. I’ve had many a debate about what [Elliott Smith’s] “Say Yes” is about — gone through the lyrics with friends and been like, “Wouldn’t you say that this supports my theory?” But it doesn’t matter to me what it is. It’s just fun to try to connect all the dots.

Maya Hawke and Christian Lee Hutson on March 03, 2026 in New York City.

Maya Hawke and Christian Lee Hutson in New York in March.

(Ilya S. Savenok / Getty Images for Tibet House US)

Break down the chronology of your and Christian’s relationship. You made this record not as married people but —
As engaged people.

How did that compare to the previous album?
When we made “Chaos Angel” we were maybe in a slightly uncanny valley of being friends who were in love but not together at all. But our working dynamic has always been pretty amazing, even from when we met doing “Moss.” Christian was really the person who made me want to play guitar and write music. He was like, “What do you mean your music isn’t good enough? Why, because you didn’t go to jazz school? I didn’t go to jazz school.” That kind of belief really shaped my journey from “Moss” until this record.

Are you the type of person who needs a facilitator?
I really enjoy support and encouragement, and I often need permission.

I wonder why.
Just a couple of weeks ago, I was talking to someone, and I was like, I want to spend less time with this person, but I want them to want to spend less time with me. I don’t want to be the one to draw the boundary — I need their permission to draw a boundary between us. My therapist was like, “We can work on that.”

Is this classic child-actor people-pleasing stuff?
I wasn’t a child actor.

When did you start?
I did my first audition at 15 but I didn’t get the part. Then I didn’t end up working until I was 18.

I’d argue that at 18 the world still sees you —
As a young person, yeah.

But I take your point.
I don’t know what it has to do with. It’s not exactly people-pleasing. There’s definitely an oldest-sibling thing I have a bit. I’m very interested in sibling-order theory. I think it’s extremely influential to who people are — better than astrology, for sure.

You’re older?
I’m oldest of five. Generally, when I meet eldest siblings, there’s a kind of interesting energy of someone who both needs to be in charge and needs a lot of permission.

Has anything changed about the way you and Christian collaborate since you got married?
We’re really happy, and we’ve been really happy. It’s awesome that we were friends for a long time first. When I got into relationships in the past, I would kind of pick the person that liked me the least. I didn’t like myself very much, and I thought that someone who didn’t like me must be a genius and that I could overcome my inherent ineptitude by getting them to like me. And in order to get them to like me, I would transform myself into becoming a person that they would like. Then we’d have a very happy couple of months until I got bored of not being myself. What being friends with someone first did was that it made it very hard to trick them.

Some of these new songs seem very clearly to be about the two of you.
Totally. A lot of this record is about how much I learned about what love really is — what it could be and how to be good to another person. My ideas about those things really transformed in the last couple of years.

As a child of divorce, were you ambivalent about marriage?
I think if anything it was the reverse. I wanted to get married twice in my life. Once was when I was 18 years old, and it was definitely mental illness: I want the nuclear family that I didn’t have, and I want it now. Then I was kind of neutral on whether or not I would get married. Then I met Christian, and I was like, “I don’t know if I’m ready to be in this kind of relationship, but you’re my person.” And we stayed in each other’s lives until it ended up being the right time.

Plenty of people find their person without wanting to have a wedding.
Are you a romantic?

I’m not sure I know.
When I was younger, I imagined myself in a sort of French marriage where we both cheated on each other but didn’t talk about it and had a lot of mutual respect. But I didn’t find a French marriage — I found my best friend. You know what a piece of s— I am and you still love me? I wake up every morning still happy to see you? That’s a miracle — we gotta have a party.

Last thing: Did finishing “Stranger Things,” which had defined the structure of your life for so long — did that change the way you think about making music?
It’s changed the way I think about everything. Basically, from about four months before the show wrapped until a year after that, I was pretty freaked out.

Because you knew a big change was coming?
Because I didn’t know how I would be reborn out of it. Even when I was resentful of being like, “I’m booked, and I can’t do this other thing that I want to do,” the show was so grounding. I was really lost without it. I’m not freaked out about it anymore, but I’m in a renegotiation of the structure of what I want my life to look like.

Do you feel some kinship with your former castmates on that?
Everyone freaked out in different amounts and at different times and to different degrees of wanting to talk about it. But we all collectively had a very, very intense time moving through the last season.

You’ve got upcoming acting projects —
I didn’t actually die like I thought I was going to.

But did the end of that job create space for music to play a bigger role in your life?
In some ways, it could become smaller. I had an ensemble part in a show that takes a year to film, which creates a tremendous amount of waiting-around time. I think that’s why so many “Stranger Things” actors have musical projects: You can’t film anything else but you can sit in your house with your keyboard. What I’ve really been feeling since the show ended was an invigorated desire to double down on acting. I’ll never not make music, but the music industry is difficult for me. I don’t know if it’s just that I was raised in the acting industry and I understand the things that are f— up about it better.

The music biz feels more opaque to you?
I struggle with some of the things that one should do in that industry to grow their project. When you’re promoting a movie, you’re on a team promoting an external item. When you promote a record, you’re doing self-promotion: “Buy my stuff. Do my thing. Put me on your chest.” It feels a little too “Look at me,” which isn’t my comfort zone.

Better start making those TikToks.
Yeah, I can’t. I really can’t.

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Are men OK? Actor Jena Malone genuinely hopes so on a beguiling new album

If, god forbid, there’s a natural disaster in L.A. in the near future, Jena Malone might be one of your first responders.

“I’ve been studying Community Emergency Response Team training,” the actor-musician, 41, said, drinking coffee in the living room of her home overlooking pomegranate trees and a canyon in northeast L.A. “Whether it’s fire management or building a neighborhood tool shed, it’s less important for me to hit career milestones now than to transform how I live on this planet. Let’s build something where we’re all taking care of each other’s needs through mutual aid.”

Those are galvanizing priorities from Malone, who’s led generationally beloved films like the sci-fi noir “Donnie Darko,” played the axe-chucking Johanna Mason in two “Hunger Games” tentpoles and recently co-starred in the lesbian bodybuilding revenge flick “Love Lies Bleeding.” For almost as long, she’s also made experimental folk and electronic records that toy with avant-garde noise and quietly poignant songwriting.

This is a wild time in L.A. for anyone concerned about the city and its culture industries, and Malone is deeply invested in both. Just before the release of her new Netflix series, the Duffer Brothers-produced “The Boroughs,” she’s released her first album in nearly a decade. “Flowers For Men” is an effects-shredded, future-primitive record, written after the birth of her son upended her obligations — and expectations — toward the men in her life and the world they’ll inherit.

“It changed everything,” Malone said, about raising a son. “I grew up learning to thrive and mask in masculine spaces. Grind culture is a masculine toxicity that I inherited and indoctrinated myself in. But parenthood offers you this opportunity to burn your entire life down in sacrifice to finding out what’s real. I had no idea what it was to be a man. All of my ideas burned down and not much was being raised back up.”

For millennial film fans, Malone’s been a consistently compelling, trust-anything-she’s-in actor since her child-star turn in 1997’s “Contact.” Few embody a tortured, beguiling Americana quite like her.

“The Boroughs” — a high-profile follow-up to “Stranger Things” from the masters of unreality, created by Jeffrey Addiss and Will Matthews — has a stacked cast that includes Alfred Molina, Geena Davis and Bill Pullman, set amid a bucolic retirement community under supernatural threat. A ragtag group of Duffer Brothers misfits teaming up to fight off eldritch horror might be the last safe bet in television.

Yet that’s also how Malone feels about the current climate of Hollywood — a once-stable neighborhood fending off malign forces. Institutional consolidation and retreat, spiraling costs, technological upheaval — they all add to a creeping sense that an era is over, and worse is coming.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” she said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent. My stress levels go down and my creativity goes up when I’m building a world that does not rely on the film industry, even though it’s my main love.”

That feeling called her back to music on “Flowers For Men,” arriving nine years after her last LP. The ego-shattering experience of giving birth in 2016 and raising a son prompted reflections about what men’s inner lives were really like, and she wanted to write about them.

“I was raised by two moms, and I had this strange aspiration to become the dad,” Malone said, laughing. “I was the breadwinner of my family then. But being a parent was all brand-new to me. I kept seeing my father in him, my grandfather, these older relationships with men. It was asking me to look at him with curious, childlike eyes.”

“Flowers For Men” was written from a sincere curiosity about mens’ strictures, bad influences and better aspirations. To inhabit someone else’s life, she had to sound different, too.

Actor and musician Jena Malone in Los Angeles, CA on May 5, 2026.

“Film is in such a delicate transition. I think that where music was 20 years ago, film is now,” Malone said. “It’s like being on an elevator where every floor is on fire. A lot of the things that I loved about it no longer exist, even if what I love about it is still wildly potent.

(Evan Mulling/For The Times)

The most prominent instrument on the album is its layers of vocal treatments. Malone has a lovely natural voice — intimately whispered, with hints of ‘70s country rock. But here she douses it in pitch-shifted digital acid, like a late 2000s R&B record dropped in the pool at the Joshua Tree Inn.

It’s an uncanny combo, but its lends modern melancholy to “Barstow,” which has the narrative structure of a Townes Van Zandt banger but is corroded with bleary effects. “Create In Your Name” has a Billie Eilish-worthy late-night murk, with lyrics so devotional they almost sound consumptive. “Disaster Zones” is all blown-out ambience, and the LP closes on a showstopping cover of John Prine’s classic “Angel From Montgomery.”

“I just love that a man wrote a song where the first line is ‘I’m an old woman,’” Malone said. “As a female songwriter, it gives me so much permission. Now all the doors are open. If I was to give flowers to all of the different men that have touched or changed things that deserve celebration, John Prine would be one of them.”

That idea — celebrating men for the good they’re capable of — felt transgressive enough today that it cohered the album for her. But it also came with questions about how romantic partnership fit into her life. Settling into motherhood, she read up on relationship anarchy — which she sees as not abiding by tiers of connection. She bought books on ethical nonmonogamy (“Sex at Dawn” was a big one) to learn how other lives were not just possible, but maybe even more fulfilling.

(Perhaps this was not a stretch from an actor who played the wild child Lydia Bennet in “Pride and Prejudice.”)

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” she said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love. And then my family, and how important friends were. And all of a sudden there’s no world where I would just have one love, not even just romantic love.”

Actor and musician Jena Malone in Los Angeles, CA on May 5, 2026.

“I had been under this societal understanding that hierarchical love, placing one partner above everything else, was the ultimate romantic expression. I could name hundreds of movies that brought that up,” Malone said. “But while I’m learning to take care of this child, I’m realizing that self-love is one of the most important parts of this equation. I need to have expression, some work in life that felt like another love.

(Evan Mulling/For The Times)

“Flowers For Men” is, in her way, a bargain with that contradiction — to love men deeply, but never put them above all else, even as she got engaged to her partner, actor Jack Buckley, earlier this year.

She’s still sorting out how to present this album live. She said she’s a fan of the Dead City Punx model of renegade shows in forgotten corners of L.A. Maybe as the city seems to fall apart, she’ll find a leafy park or the back of a dingy bar that’s the right home for these strange, lonely yet hopeful songs.

“I want someone to walk into the bathroom and be like, ‘Whoa, why is there a woman singing to me?’” Malone said. “I like the idea that art makes you a little uncomfortable and you don’t have the previously held expectations to know how to hold it.”

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Rolling Stones team up with eighties pop icon for three tracks on new album

THE Rolling Stones have teamed up with The Cure’s Robert Smith for their new album Foreign Tongues.

Insiders told The Sun that Friday, I’m In Love singer Robert, 67, had recorded three tracks in secret with Sir Mick Jagger, Keith Richards and Ronnie Wood in London.

The Rolling Stones have teamed up with The Cure’s Robert Smith for their new album Foreign Tongues Credit: Getty
Robert secretly recorded with The Stones in Metropolis Studios in London Credit: Getty

Tonight, The Stones will unveil the details of Foreign Tongues, out July 10, at a party in New York .

Sir Paul McCartney, who played bass on Bite My Head Off from The Stones’ 2023 No1 album Hackney Diamonds, is also on the new record.

A source said: “Robert secretly recorded with The Stones in Metropolis Studios in London.

“He plays guitar and synth, and did backing vocals for three of the tracks.

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Robert plays guitar and synth, and did backing vocals for three of the tracks
This afternoon, the British music legends released the first single from Foreign Tongues, In The Stars Credit: Getty
Hackney Diamonds, which was The Stones’ first original studio album in 18 years went straight to the top spot Credit: Getty
The Stones cast rising star Odessa A’Zion in the music vid to accompany their last single Credit: Getty

“The Stones were really pleased with how the songs came out.

“Paul will appear on the album again too. They’ve had this album wrapped for a while now and The Stones are excited about releasing it to their fans.”

This afternoon, the British music legends released the first single from Foreign Tongues, In The Stars.

Hackney Diamonds, which was The Stones’ first original studio album in 18 years when it was released back in 2023, went straight to the top spot.

And Mick and co have been working hard to make sure there is just as much of a buzz around Foreign Tongues.

They kicked off their campaign by reverting back to being The Cockroaches- a moniker they used for surprise, intimate performances in the Seventies and Eighties – and dropped a track called Rough And Twisted last month.

The Stones released a limited number of vinyl copies of the song, which are so rare they’re now being flogged for over £1000 online.

And they pulled in the big guns for their first music video for the record, by enlisting Hollywood rising star Odessa A’Zion to appear in the production.

This evening, Oscars host Conan O’Brien hosted a Q and A session with Mick and Keith, both 82, and Ronnie, 78, in New York.

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Olivia Dean lines up disco legend to help with brand new music after massive success of The Art Of Loving album

OLIVIA DEAN is preparing to pull out the big guns for the follow-up to her year of triumph — by enlisting the help of hitmaker extraordinaire Nile Rodgers.

She’s become one of the UK’s favourite musicians thanks to the runaway success of her album The Art Of Loving.

Olivia Dean is working on her follow-up to The Art Of Loving Credit: Getty
Chic legend Nile Rodgers is keen to work with Olivia Credit: Getty

Now I’m told Chic great Nile is keen to work with Olivia and personally reached out to her.

Their teams are looking for space in the schedules to go into the studio together.

A source said: “Nile has his finger on the pulse when it comes to music and thinks Olivia is just amazing.

“He was actually aware of her before her album dropped and is really keen to get in the studio with her.

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“She really does have the world at her feet and is pretty honoured that such a star wants to work with her.”

Nile has written, produced and performed on albums totalling more than 750million sales.

He has worked on tracks including David Bowie’s Let’s Dance, Duran Duran’s The Reflex and Like A Virgin by Madonna.

More recently, he has contributed to Beyonce’s albums Renaissance and Cowboy Carter, and Coldplay’s tenth album Moon Music.

But Olivia doesn’t have loads of time in her diary right now, having kicked off a debut arena tour in Glasgow last Wednesday.

She has shows in London this week and will stay on the road across Europe and North America until the end of August, before jetting Down Under in October.

Olivia kicked off her debut arena tour in Glasgow last Wednesday Credit: Getty

Released last September, The Art Of Loving has turned her into a global star, spawning the singles Man I Need, So Easy (To Fall In Love), A Couple Minutes and Let Alone The One You Love.

She proved to have the Midas touch, because after teaming up with Sam Fender on a version of his song Rein Me In, it spent eight weeks at No1 — and is on course to return there this Friday.

Olivia has also achieved career milestones including performing on Glastonbury’s Pyramid Stage in 2024.

On how to build her career, Olivia previously said: “Make an album, play Jools Holland and play the Pyramid Stage.

“I’ve done them now, I need to figure out some new goals.”

With Nile by her side, I’m sure Olivia will continue to dominate.


MIS-TEEQ confirmed my story that they’re reuniting to celebrate the 25th anniversary of their debut album, Lickin’ On Both Sides.

I revealed in January that Alesha Dixon, Sabrina Washington and Su-Elise Nash were discussing getting back together for a one-off performance.

Mis-Teeq are reuniting to celebrate the 25th anniversary of their debut album, Lickin’ On Both Sides Credit: Getty

And now Mis-Teeq’s Instagram page has kicked back into action, with a video showing their performances from 2001 – when the record came out.

The biography on their account reads: “25 Years. One Legacy.”

Watch this space.


COOPER: MY SLIM PICKIN’

COUNTRY singer Cooper Alan wants to do the unthinkable and drag Eminem into the world of cowboy music.

In an exclusive chat with Bizarre, the TikTok sensation – who has racked up 11.5million followers – revealed that the Slim Shady rapper tops his dream collaboration list.

Cooper Alan wants to do the unthinkable and drag Eminem into the world of cowboy music Credit: Getty

Cooper said: “Eminem has always been my favourite. It would probably never happen, but that’d be really cool.

“Eminem on a country song, I think that would be crazy.”

He’s also got another surprise duet in mind, this time with with Scottish brothers The Proclaimers.

He added: “We’ve been covering their 500 Miles as our encore, so we’ll throw their hat in the ring too. Dream collab, The Proclaimers.”

I caught Cooper live in London last week on his To The Pub Tour, and the show was absolute carnage – in the best way possible.

The singer is wrapping up his first UK shows in Glasgow tomorrow, following the release of latest album Winston-Salem.

The New Normal singer had fans battling it out in a beer-chugging contest before pouring pints straight into the front row from the stage.

Laughing about the stunt, he said: “You’d think I’d be better at pouring the beer.

“But it comes out too fast, it goes all over their face.”

After testing their drinking skills, he was full of praise for our crowds.

Cooper said: “I was impressed with the British drinking ability, especially on a Tuesday night.”

That’s those Americans told.

If you want proper drinkers, come to Britain.

MEGAN DITCHES ‘CHEATER’

MEGAN THEE STALLION has broken up with boyfriend Klay Thompson after accusing him of cheating on her.

In a statement confirming her split from the NBA basketball player, she said: “I’ve made the decision to end my relationship with Klay.

Megan Thee Stallion has dumped boyfriend Klay Thompson Credit: Getty

“Trust, fidelity and respect are non-negotiable for me in a relationship.

“When those values are compromised, there’s no real path forward.

“I’m taking time to prioritise myself.”

The WAP rapper was with Klay – who’s yet to address the claims – for just under a year.

On Instagram she wrote: “Cheating, had me around your family playing house.

“Got ‘cold feet’. Holding you down through all your HORRIBLE mood swings and treatment of me during basketball season  . . .  now you don’t know if you can be ‘monogamous’???”


FOO FIGHTERS celebrated the release of their album Your Favorite Toy with a launch party in London, then performed two new tracks on Saturday Night Live.

But it looks like the band, above, will be prevented from scoring their seventh No1 album, as Noah Kahan’s new record The Great Divide has sold three times more in the UK since they were both released on Friday.


MADGE BASQUES IN GLORY

SHE might be 67, but it’s clear Madonna can still party hard as she leaves a nightclub in bridal lingerie at 2am yesterday.

Madge, in shades and knee-high boots, hosted a bash at The Abbey in West Hollywood, where she played new track I Feel So Free and also premiered an upcoming song, believed to be called Freedom.

Madonna hosted a bash at The Abbey in West Hollywood, where she played new track I Feel So Free Credit: BackGrid

That could well be her third track with that title.

She recorded one for her 1994 Bedtime Stories album, though it didn’t make the cut at the time, and made another during sessions in 2014 and 2015, which wasn’t officially released but did leak online.

There was some chaos at the Los Angeles nightspot as fans grappled to get close to the superstar, who was standing behind the DJ decks.

Punters were pushing and shoving, with one woman pouring her drink over a man’s head.

Celeb fans Addison Rae and Julia Fox were also there.

Let’s hope they didn’t have soggy bonces.

BOY GEORGE FACES UP TO EUROVISION

BOY GEORGE is all set to make his Eurovision debut next month – but it sounds like he’s put less thought into his vocals than how he will react when the scores are revealed.

The singer is featuring on San Marino’s entry Superstar, by Senhit.

Boy George makes his Eurovision debut next month Credit: Getty

He said in an exclusive chat at the London Eurovision Party: “I’ve been to so many awards shows where I’ve been nominated, so I will be able to deal with nerves when it comes to the points.

“You have to learn that face where you’re like, ‘I’m so happy for everyone else’.

“But I’ll be so in it. I think Senhit will be more nervous than me.

“I won’t be nervous on the night, not really. There will be nervous energy and excitement.”

The Culture Club frontman joked he better not get stage fright, adding: “Probably on the night, I’ll be like, ‘Argh, this is huge.

“What if I forget to say the right words?’. I won’t have a lot to do, but sometimes not having much to do can be worse. But I think I’ll be fine.”

He has high hopes that San Marino can beat the UK entry Eins, Zwei, Drei by Look Mum No Computer.

George added: “I’d love us to win. San Marino is a small country. Ireland is not doing Eurovision this year so, they can vote for me as I’m Irish.”


THE ROLLING STONES are having fun with the promo for their new album Foreign Tongues.

They have turned their website into a CCTV geek’s heaven with ten cameras showing them at work.

Producer Andrew Watt, who worked on their last No1 album Hackney Diamonds, features in the videos, and helped shape the ten album tracks.

Insiders said there is a top-secret – and random – collab on the new record, out later this year. I’m told no one would ever guess.


SYDNEY CENTRE STAGE

HONKY tonkin’ Sydney Sweeny squeezed into this tiny corset dress to enjoy the world’s largest country music festival.

She was spotted in the crowd during the Stagecoach event in California.

Sydney Sweeny squeezed into this tiny corset dress to enjoy the world’s largest country music festival Credit: Getty
Sydney was spotted in the crowd during the Stagecoach event in California Credit: X

The actress, who seemed to take inspiration from Madonna’s latest corset look, was seen on top of boyfriend Scooter Braun’s shoulders as they watched Ella Langley perform on Friday evening.

She was then back on Saturday for day two and got on the mic herself, inset.

Her lingerie brand Syrn hosted a pop-up where she belted out Sweet Caroline on karaoke and was joined by showbiz pals Diplo and Lance Bass.

Perhaps a music career beckons next . 

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‘I need to document America at this pivotal time in history’, says Tori Amos as she returns to London with new album

MORE than three decades after London helped launch her career, Tori Amos is back in the city, headlining the Royal Albert Hall for a tenth time. 

The US singer is chatty and upbeat despite staying up until 5am, still riding the high of her gig the night before. 

Tori Amos is back with her 18th album, In Dragon Times Credit: Kasia Wozniak.
Tori playing London’s Albert Hall on Tuesday Credit: Getty

With her striking red hair falling in waves and her vivid green eye make-up, Maryland-raised Tori, who has called Cornwall home since the late Nineties, looks every inch the star. 

“London was the place that gave me my big exposure explosion,” she says.

“It really did shake my life up. And here we are again. 

“London broke Silent All These Years in the autumn of 1991, and then launched [debut album] Little Earthquakes, which rippled out to the States and the rest of the world.

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“America really discovered me through London, and then the UK did, too. From there, it just kept rippling outwards.” 

On her forthcoming 18th album, In Times Of Dragons, Amos turns political dread, female resistance and personal storytelling into something unique and mythic.  

She says: “I’m very reclusive at home and I’m not very sociable there so when I’m on tour I go from this insular life, where I do a lot of reading, music and writing, and step into this much more exposed life.” 

The contrast between Amos’s secluded home life and her role as a performer feeds directly into an album shaped by both personal reflection and political unease. 

The record is a response to the current political climate in America because, as a songwriter “a lot of my work is documenting time,” she tells me. 

“That’s what I did with Little Earthquakes, which followed my time of failure after [her synth band] Y Kant Tori Read when I had to go back to play piano bars.  

“I have a history of documenting things — my miscarriage in 1998 and that journey, then my 2002 album Scarlet’s Walk which documented 9/11 when I actually wrote some of it on the tour bus.” 

The idea for In Times Of Dragons came through the muses — otherworldly entities — that Amos believes bring her music.  

She has spoken widely about these guiding forces, which she says have inspired her songwriting since childhood.

And last year she published children’s book Tori And The Muses, all about them. 

She says: “This message came to me through the muses that I needed to document America at this pivotal time in history. 

“And I had to personalise this.

“It came to me a year ago that I needed to be me in the story and be closely connected to one of these people, and what that would look like, because they are personally affecting us. 

“I had to turn the volume on that to create this narrative, whatever turning into a dragon looks like.” 

The album follows the story of Tori trapped in a world run by billionaire tech moguls and lizard dragons, who threaten democracy through corporate greed and authoritarianism. 

Amos says: “Jane Mayer writes about the genesis of this in Dark Money, which is one of the most important books people need to read if they’re asking, ‘How did we get here?’. 

“This has been going on since the Seventies.

“As Mayer documents, figures like the Koch brothers — and I use that as an umbrella term for a wider movement — helped shape it, along with super PACs [organisations that spend millions supporting political candidates] and all the rest. 

“It seems there was an understanding that progressive teaching in universities had to be excavated, cut back and penetrated by a very tight right-wing philosophy that is now upon us. 

“And I’m not just talking about Republicans and Democrats. I’m talking about tyranny versus democracy.

“If you had asked me about this even around the Scarlet’s Walk era, I was already going after it through that record, and then through [2007 album] American Doll Posse during the Bush-Cheney administration with the wars, the manipulation, all of that. 

“Then there was a period of relief, when a different, more inclusive philosophy came in, whatever your politics are. 

“For me, it’s about the philosophy.

“As a songwriter, I’ve been tracking that through my career. 

“On this record, I had to take a personal journey and look at the effects of what this very small cabal of men is doing — and there are women involved too, we can’t get confused about that. 

“There’s Cambridge Analytica, the involvements of the Mercers, Rebekah Mercer [the right-wing US heiress and political donor] and all those interconnections.” 

The album’s story sees Amos’s character flee and reunite with her daughter.

This part is played by her real-life daughter Natashya, who co-wrote tracks Veins, Strawberry Moon and Stronger Together — the latter of which she also sings backing vocals on, and is one of the most emotional songs on the record. 

“She was in DC at the time, in law school, and she graduates in a few weeks,” says Amos proudly.  

“She’s going into criminal law and really had her finger on the pulse. 

“On a daily basis she’s seeing things that the wider public probably isn’t, unless you’re a political journalist. 

Tori in a shoot for the new album. An actress portrays her daughter, who co-wrote three songs and sings backing vocals Credit: Unknown

“We’re so inundated that the little freedoms being quietly taken away can be missed. 

“Criminal law is her calling.

“So, writing these songs with her, with her understanding of what’s happening in the field she’s chosen, and her exposure to the shock of what is being torn to pieces, was hugely important. 

“She says we are past constitutional crisis and what’s going on is absolutely shocking.” 

The final song, written last- minute for the album, is Ode To Minnesota — a response to the deaths caused by ICE agents there. 

She says: “Heinous, atrocious crimes are being committed and so this is the world of the record.”  

Amos, 62, has a long history of addressing America in song, and In Times Of Dragons continues that while exploring wider patterns of male power

It’s also a reminder of her role as a feminist icon and the influence she’s had on artists such as Lady Gaga, Florence Welch and St Vincent (real name Annie Clark).  

“Annie’s one of my dear friends,” she says of St Vincent.

“She’s fabulous. We have a giggle and I’m thrilled for her, for her art, and for the way she’s balancing motherhood so beautifully. 

“It’s lovely to see people who came to my shows when they were younger. 

“She’s talked to me about Choirgirl [Tori’s 1988 album From The Choirgirl Hotel] and what it meant to her when she first heard it, and we’ve had laughs about that. 

“And it’s the same with the guys too. 

“I’m off to an event later and the guy doing the Q&A used to stand by the stage door as a teenage gay kid.  

“To see these people grow up, and to still be able to bask in their creativity and development, is a beautiful thing to witness.” 

But while Amos is moved by the artists and fans who have grown up with her work, she is hesitant to define her own feminist legacy. 

She says: “It’s not for me to say, that’s more for other people to decide. 

“Believe it or not, I’m a bit introverted about that.

“What I think I’ve tried to do, and what I have done, is there for those who know it. 

“What’s important to remember is that there was no social media then.

“When people ask, ‘Was it easier back then?’, well, in some ways no, and in others yes. 

“We did have a music business with a few women in record companies, though only a few in executive positions.

“One or two could balls their way through, but you really had to.

“And if you didn’t have that tenacity in the Nineties — especially to get played on radio — it was tough. 

“At an alternative station in the States, they might add two women out of 64 slots, and the other 62 would be men.  

“I’ve spoken about that with some of my contemporaries over the years, Alanis [Morissette] being one of them, and it was not a good feeling — knowing that talented women with very good records were simply not being added to the station. 

“And touring took money. 

“That’s why I never had tour support.

“In the early days, I went out with just a piano, my tour manager and a sound guy. That was it. 

“We kept the costs down, and luckily the shows sold out, because the Press had really got behind me.” 

Today, Amos points to Dolly Parton as proof that women can keep evolving, performing and owning the stage on their own terms as they get older.

“She is fantastic and she’s aware we are a different generation that played this game and played it well,” says Amos.

“There are women who are still playing the game beautifully, and they still have the physicality and the health to do it.  

“I used to have a three-and-a-half octave range when I was doing those one-woman shows.

“But with the change of life — becoming a dragon, if that’s the menopause analogy — you adapt or you collapse.

“For me, it wasn’t a crisis in the way it has been for some women we’ve read about in the Press, and I have huge empathy for that.

“But vocally, I did have to make changes. 

“I didn’t want to alter the top lines of songs with those very high, wide-ranging melodies, so on the last tour I simply didn’t play them.  

“Then I thought, ‘No, that isn’t what I want.

“I want the whole catalogue available to me as a storyteller’. 

“So, I decided to bring in backing singers who could hit those notes.

“It was a strategic, compositional choice.

“I didn’t want to be in a position where I could only perform 40 per cent of my catalogue because of range. 

Tori at the 1992 MTV Video Music Awards in Los Angeles Credit: Getty

“And we’re having a blast. 

“They’re amazing singers. 

“I’ve gained four notes at the lower end and I feel like I’m down there rocking with Nick Cave, but that’s the trade-off. 

“I gained more on the lower end, while recognising that if I want to play those songs, you can only transpose them down so far before they lose their essence. 

“I have so much respect for Nick Cave.

“I used to run into him in the early Nineties.

“His work has always been a beacon of beauty and darkness — expansive work that makes you think.” 

Like Cave, Amos remains restlessly creative, and she is already thinking about where to go next.  

“After something as demanding as this, I’m doing a prequel to children’s book Tori And The Muses — that will be out next year,” she says.

“Her journey as a little girl with her muses.  

“It’s due next April — and there may be music to go with it too.” 

  •  In Times Of Dragons is out on May 1. 
Tori Amos’  In Times Of Dragons is out on May 1 Credit: Kasia Wozniak.

TORI AMOS 

In Times Of Dragons 

★★★★☆

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Writer’s block is a lonely feeling…but Marcus Mumford gave me great advice, says Noah Kahan ahead of fourth studio album

AFTER the whirlwind success of No1 hit Stick Season, Noah Kahan didn’t rush back into the studio.

In fact, he stopped completely. Facing writer’s block and still processing everything that had happened, he stepped away for six months, forced to rethink not just the music, but what success meant.

Noah Kahan is back with a new album, The Great Divide Credit: Patrick McCormack
Noah’s 2022 album Stick Season sold over four million copies and had billions of global streams Credit: Stephen Keable

His 2022 album Stick Season — rooted in Vermont and exploring mental health, identity and small-town life — transformed the singer from a cult folk artist into a global name.

Topping the charts in the UK, the record was also certified multi-platinum in the US, where it sold over four million copies and had billions of global streams.

Kahan was nominated for a Grammy for Best New Artist and the emotionally raw, nostalgic and deeply personal record was widely seen as one of the defining albums of the decade.

“I just couldn’t write for a while,” he confesses. “When I first got off the road, I didn’t make any music in a long time.

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“I spent months not doing anything and it was painful because I like to be busy.

“It took so much strength for me to push that feeling away.

“I’m aware of how rare the moment was, how big the moment was and how lucky and fortunate I was, but my whole life I was trying to prove to people that I had a place here. So when the huge moment was happening, instead of being like, ‘Yeah, I made it’, I was like, ‘Oh my god, how am I going to stay here?’.”

That pressure quickly took its toll. Kahan said: “Writer’s block is such a lonely feeling — it makes you feel like your value’s been taken away. I felt completely unable to open up about it, but I ended up reaching out to friends.

“Marcus Mumford really helped. He understood what it’s like to be under a lot of pressure and afraid of failing and gave me great advice.”

Kahan also had to redefine success. It was not chasing numbers — just being able to make music was enough.

He says: “I learned the hard way about burnout. Success is a double-edged sword. I’ve always said if I had any, or if my tour sells out, I’d be happy. But the second it sells out, you’re looking at the next thing to achieve.

“Starting off this new album was really scary. I had to realise I didn’t need to be the biggest artist in the world or where Stick Season took me. I didn’t need to be successful to be loved.”

Kahan is in London for a few days to promote The Great Divide, his fourth studio album, which is out next Friday.

Taking time off to reset both mentally and emotionally was essential to writing again.

“I’ve struggled with my mental health,” he says candidly.

“But I was struggling more than anybody knew. I’ve struggled with anxiety, depression and body dysmorphia, but it was the OCD that I hadn’t figured out.

“I was diagnosed with OCD last year. It’s not about washing my hands a thousand times — it’s obsessive thinking. I was struggling with a lot of self-esteem and confidence issues, but I’d never dealt with anything so acutely like OCD. I’m supposed to be the singer who’s open about his mental health, but I felt so much shame.

“I needed medical intervention and therapy, and I didn’t want to be open about that because I was afraid. It was frightening as I’d been stripped of

this thing I loved.

“I couldn’t express myself through music any more, and so I didn’t tell anybody and it came to a breaking point.”
Through help and time, Kahan started to recognise his disorder in ways he hadn’t before.

“Now I wake up knowing my day is not going to be decided by what I see on my phone,” he says when discussing how therapy has helped him.

“Before, I’d have 700 brilliant words of praise, but it would be the one negative word that would shatter me. For a long time, I thought I was crazy.”

Kahan is focused on bringing his album to the stage Credit: Patrick McCormack

In August 2025, Kahan married his longtime partner Brenna Nolan, bringing a new sense of stability to his life.

The singer has also made a Netflix documentary — Noah Kahan: Out Of Body. It captures this difficult period, which he sees as part of his healing.

He says: “Making the film was a strange but amazing process. Having people follow you around took time to get used to, but they captured a really honest moment for me. Watching it back with my family was emotional. It showed how we really are.

“It was hard seeing how unhappy I was then, but in the end, it told a beautiful story.”

He adds: “My family are on the new record. I love the song American Cars. It’s about my sister.

“Whenever things were tough at home, she’d drive up from New York in a rental car, sunglasses on, just a total badass.

“She’s a surgeon, she just gets things done. She’d come back and help us through it, and the song came from that. Like, you need to come home and help fix this.”

The Great Divide is an album about friendship, miscommunication, regret and personal growth, and the title track became the guiding, emotional “north star” of the record.

He says: “Yeah, The Great Divide is really about a friendship that didn’t work out — one where I wasn’t able to express myself.

“And then there’s a song, Dan, which is about the opposite — being open, telling each other how much you care, facing hard truths. It ends in a way that really encapsulates the whole record. It’s probably my favourite song we made.

“There are a lot of stories,” he adds.

“It’s very emblematic of my childhood and a lot of people’s, young men in particular. Talking about feelings or asking difficult questions can feel like more discomfort than it’s worth, but the consequence is you don’t really know someone as well as you think you do.”

Noah says of his new album: ‘The Great Divide is really about a friendship that didn’t work out — one where I wasn’t able to express myself’ Credit: Patrick McCormack

It’s an expansive album with 17 tracks, including the gorgeous We Go Way Back, Willing And Able, Haircut and Porch Light.

He adds: “I can’t wait to see crowds singing back Willing And Able, and Haircut started from that idea of someone coming back to town changed — like they’ve outgrown it. I felt like I’d become that person, only going home for inspiration instead of really being there.

“The song is almost someone singing to me, saying, I’m glad you’ve figured things out, but at least I’m still here and still real. You’ll leave again, and we’ll still be here. That’s what it’s about.

“Then, Porch Light is really about my biggest fear — how I’ve changed.

“I worry about going home and feeling like people see me differently, like I’ve become this ‘Hollywood’ version of myself, too big for where I’m from. That my relationship with Vermont has been changed by success and leaving Vermont for Nashville.

“But my family has always kept me grounded. They’re so happy for me. I wanted to write about that fear you have in your head before you even pick up the phone.

“You’re always anticipating what people might think. But there’s a silver lining in Porch Light. It’s about people saying, ‘We still care about you, we’ll still be here — but you need to figure things out first’.”

And that sense of place runs throughout the album.

“Yeah, the first and last songs really frame the album — I wanted them to feel like an intro and an outro,” Kahan says.

“The first track, End Of August, is this big, building track about that time of year in Vermont . . . It’s that moment when the tourists leave and the people who live there can finally come out of hibernation — like, ‘They’re gone’.”

He’s been working with Stick Season collaborator Gabe Simon, The National’s Aaron Dessner — best known for his work with Taylor Swift, Bon Iver and, more recently, Gracie Abrams — plus Ed Sheeran and Mumford & Sons.

Kahan says: “Gabe and I are really close — we went through a lot making Stick Season, so on this album we leaned on each other. He’s like a brother and the perfect person to go through this with.”

Noah will be in the UK, including three nights at London’s O2 in November Credit: Patrick McCormack

Aaron Dessner brought calm, structure and creative balance to the process.

“Aaron came in early on, but I was intimidated at first,” admits Kahan. “I looked him up on Wikipedia and was terrified of his success. This guy’s a legend.

“This was where Taylor Swift writes and Justin Vernon (Bon Iver), who works with Aaron, is my hero. Aaron has a magic to his music — a real understanding of what an artist is trying to say. But he’s a sweet, calm man who lives a very humble life in upstate New York on a farm.

“I needed him to stabilise me creatively. He is regimented in how he makes music and I need a routine. He is an amazing producer and this album sounds so f*****g cool because of what Aaron did.”

The sound on the new album is more expansive than Kahan’s earlier music and includes horns, guitar and richer production.

He says: “Honing on a sound and a theme started the process. Aaron’s place had dirt bikes, fishing rods and skeet shooting — all the things that I grew up doing.

“We couldn’t make the music in Vermont this time and the setting was really important, feeling connected to nature and beauty.

“It’s hard for me to make music in a city. Whenever I’m in a city, all I write is, ‘Get me out of the city’ songs.”

He adds: “We were also still in the middle of touring and I was over the Stick Season songs.

“There’s a lot of electric guitar on the new record, and bouzouki and mandocello, instruments we haven’t really used before. It’s a new confidence, but having spent three years on the road, I just want to make music that’s exciting to play live.”

It’s the connection with his audience that remains key.

He says: “I love it when I see fans singing back my songs as it means they’re feeling it.

“I’m always honoured when someone says my music has helped them to reach out for help. Though it can be overwhelming when people tell me they’re struggling with difficult thoughts.

“I don’t always feel equipped to handle that and I worry I’m not helping in the way they need. It’s hard when you feel you’re letting someone down.”

Now, his attention is focused on bringing the album to the stage.

He says: “I’m looking forward to playing these new songs. This record tells a story, so we’re working on the stage design, setlist and lighting to tell that story. We’re playing stadiums now, but I want fans to still have an intimate experience.”

Kahan returns to historic Boston baseball stadium Fenway Park, the home of the Boston Red Sox, for four nights this July.

He will also be back in the UK, including three nights at London’s O2 in November.

He says: “I’m excited about those dates, but my dream is to play Stamford Bridge.

“It’s my favourite sport and I love Chelsea FC. But I was told you can’t play there. I’ve achieved so much already, but that is my ultimate dream.”

  • The Great Divide album is out next Friday, April 24.

NOAH KAHAN – The Great Divide

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Noah Kahan – The Great Divide, his fourth studio album, is out next Friday

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How Madonna became the queen of cool aged 67 with club-inspired album, a hot toyboy and a new Gen Z fanbase

SHE was 35 and in her prime when Smash Hits magazine published images of her parading the stage in a skimpy bra – and scoffed: “Calm down, grandma!”

But the cutting headline, which accompanied a review of her Girlie Show tour in 1993, did nothing to deter the uniquely stylish Madonna.

In a career spanning more than 40 years, Madonna became the hottest female singer in the world, selling over 400million records Credit: Rafael Pavarotti
The Queen of Pop has faced intense backlash over her appearance through it all Credit: Instagram
Madonna with her boyfriend, former footballer Akeem Morris, 29 Credit: instagram

In a career spanning more than 40 years, she became the hottest female singer in the world, selling over 400million records.

But through it all, the Queen of Pop faced intense backlash over her appearance.

Critics have judged everything from her cone bra in 1990 to her Met Gala “bondage”-style outfit in 2016, when she was 57.

But now, as Madge prepares to return to the spotlight with her 15th studio album, she has done what many thought would never be possible.

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Aged 67, she is finally cool again.

The Vogue singer confirmed this week that she will release her first record in seven years this July — a sequel to her 2005 smash Confessions On A Dance Floor.

The original, inspired by disco and Eighties electropop, shifted more than 10million copies.

It featured No1 singles Hung Up and Sorry, and ushered in a new era of dance music.

Now, Confessions On A Dance Floor: Part II is promising to be a continuation of the project.

And Madonna is still not letting her age define her fashion, posing in a blue leotard, fishnets, a silver jacket and shades in a defiant photo to promote the record.

The Vogue singer confirmed she will release her first record in seven years this July — Confessions On A Dance Floor: Part II Credit: AP
Madonna guest DJ’s with producer Stuart Price Credit: instagram/madonna

A music insider said: “Madonna has locked in for this project and it’s not at all what you’d expect from any other woman who is nearly 70.

“It has roots in New York house music and rave culture and her record label believes it will usher in a whole new generation of fans.

“Confessions 1 showed Madonna at her coolest and, after straying into other genres on her last few albums, this feels wonderfully authentic.”

Madge is yet to release the album’s first single, but she has been steadily building a Gen Z fanbase, who have been discovering her back catalogue.

Last month, her 1985 chart-topper Into The Groove returned to the Top 20 after going viral on TikTok.

Cruz Beckham, KSI, Aitch and Sam Thompson were among those who shared videos of themselves dancing to the song 41 years after it was a No1 hit.

Madge is yet to release the album’s first single, but she has been steadily building a Gen Z fanbase, who have been discovering her back catalogue Credit: Getty
Sabrina Carpenter said: ‘She’s so lovely and so exactly how you expect her to be — just, like, so magnetic’ Credit: Getty

And she is heavily tipped to make a live return tonight at the buzziest festival of the year alongside one of the world’s hottest young pop stars, Sabrina Carpenter, 26.

The Espresso singer will headline the second weekend of Coachella in California and has extended her set by ten minutes, further fuelling industry whispers that Madge may join her on stage.

It would be the veteran pop star’s first performance there in 20 years. She delivered a memorable set in 2006 following the release of her first Confessions album.

Sabrina idolises Madonna as a blueprint for pop music — and there are suggestions they may have collaborated on a song.

In 2024, she paid tribute to Madge by attending the MTV VMAs in a vintage strapless gown previously worn to the Oscars by her musical hero in 1991.

Sabrina said of Madonna last year: “She’s so lovely and so exactly how you expect her to be — just, like, so magnetic.”

Madonna plays an epic set at Coachella Festival 20 years ago Credit: Getty
Stuart Price was musical director on her 81-date Celebration Tour in 2023 and 2024 Credit: Getty

Many of the current crop of pop starlets have named Madonna as their top inspiration.

Dua Lipa has said her 2020 No1 album Future Nostalgia was heavily influenced by Madge, and she worked with her on a remix of her song Levitating.

Jade Thirlwall said last year: “She is one of the best pop stars we will ever get.”

In fact, Madge has such pulling power, supermodel Kate Moss, plus film stars Benedict Cumberbatch and Gwendoline Christie, are set to have cameos in her comeback music video.

It is a sea-change from previous generations who used Madge as a verbal punching bag.

When asked to name the most overrated person in pop, Lily Allen once said: “Madonna. She might have meant something once, but I don’t know many people my age who care.”

A Smash Hits magazine headline pouring scorn on her style back in 1993 Credit: Unknown

And Lady Gaga insisted she could not be compared to the megastar, explaining: “I play a lot of instruments. I write all my own music . . .  I’m a producer. I’m a writer. What I do is different.”

On Wednesday, Madonna released a snippet of upcoming track I Feel So Free, which heavily samples the 1989 house tune French Kiss by Lil Louis.

The original features more than two minutes of sex noises — something which seems fitting for pop’s most notorious provocateur.

For Confessions II, Madonna has teamed up again with British producer Stuart Price, who was musical director on her 81-date Celebration Tour in 2023 and 2024.

Meanwhile, her boyfriend, former footballer Akeem Morris, 29, is regularly seen dancing and larking around with her in videos on TikTok, where her clips have been liked over 45million times.

Last month, Madonna was in Venice shooting for the second series of the Apple TV show The Studio, in which she will appear opposite Julia Garner.

But now it is full steam ahead with her music, after re-signing with Warner Records — her label for the first 24 years of her career.

Madonna said of her new album: “When Stuart Price and I first started working on this record, this was our manifesto: We must dance, celebrate and pray with our bodies . . .  To rave is an art. It’s about pushing your limits and connecting to a community of like-minded people.”

Gen Z will not know what has hit them . . . 

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Sporty Spice Mel C, 52, flexes her muscles in leotard and red high-heeled boots as she poses for new album cover

SPORTY Spice Mel C pumps up the Girl Power as she flexes her muscles.

The singer, 52, wore a weightlifting belt, leotard and red high-heeled boots in a photoshoot for her new album cover.

Mel C stunned as she flexed her muscles in a shoot for her album coverCredit: Instagram
Sporty Spice wore a weightlifting belt, leotard and red high-heeled bootsCredit: Instagram

Ninth solo studio album, Sweat, is out on May 1.

We revealed last month how the Spice Girls’ 30th anniversary reunion has been cancelled after they failed to pull their plans together in time.

Melanie C, Emma Bunton, Mel B and Geri Halliwell-Horner had been in talks, as well as Victoria Beckham, to reunite for a string of concerts to mark three decades since the release of their debut single Wannabe.

Confirming the news during an interview on The Smallzy Show on Australia’s KIIS RadioMel C, 52, said: “No, there is no reunion.

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“We are communicating all the time. We want to do something – who knows when.

“But I still feel very optimistic and I keep my fingers crossed that you will see the Spice Girls together at some point in the future.”

The Sun told last April how Geri, 53, was back in touch with the band’s former manager Simon Fuller and had flown out to Miami to try and agree on a deal.

As recently as January, Mel C had insisted they were still in active discussions about celebrating the milestone.

And even Victoria, 51, had prompted hopes she could return to the group, saying she “loves” the idea of a residency at Las Vegas venue Sphere.

She said in October of the prospect: “It would be tempting. But could I take on a world tour? No I can’t. I have a job…”

Mel C at Paris Fashion WeekCredit: Getty
Mel C’s ninth solo studio album is out on May 1Credit: Instagram

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