album

The show will go on for ZZ Top.

Last week, the blues rock band canceled its Hollywood Bowl concert because longtime drummer Frank Beard had health issues, Rolling Stone first reported.

That Aug. 5 Los Angeles concert was supposed to be the kickoff for the band’s the Big One tour. But a spokesperson for the band says that frontman Billy Gibbons and bassist Elwood Francis will continue the tour.

Michael Monahan will substitute for Beard for the remainder of the Big One, which will conclude its U.S. run on Oct. 9 in Port Wentworth, Ga.

The band has not said that it will reschedule the L.A. show, and all tickets, including transportation and parking passes, were being automatically refunded, according to the Hollywood Bowl.

Gibbons previously posted on Instagram that there were unexplained “insurmountable obstacles” leading to the band’s sudden cancellation at the Hollywood Bowl.

The band has released no details on Beard’s condition, although this is not the first time the drummer, 77, has faced health-related issues in his long tenure with the band. Beard joined ZZ Top in 1969, soon after the band formed, replacing founding drummer Dan Mitchell.

In March 2025, the Texan trio announced via its Instagram that Beard would temporarily step away from the band’s Elevation tour to tend to a health issue, which was later revealed to be foot and ankle problems. John Douglas — a longtime tech member, percussionist and drummer — replaced Beard in the interim, having done so previously when the veteran drummer underwent an emergency appendectomy in 2002.

In ZZ Top’s early days — following the release of the 1976 album “Tejas” — Beard dealt with issues related to substance abuse that led to the band’s three-year hiatus, which he and his bandmates opened up about in the 2019 documentary “ZZ Top: That Little Ol’ Band From Texas.”

“Frank goes all out on what he does and that includes the bad things,” bandmate Dusty Hill, who died in 2021, said in the documentary. “He was sick. If you’re a very good friend, you love a guy, you don’t want to see him die. You just want to see your brother get well.”

The Grammy-nominated band, which formed in Houston, is known for its edgy blues twang in popular singles including “La Grange” and “Tush” and across 15 studio albums. In November, ZZ Top will close out the Big One tour with eight performances across Mexico and South America.

TINIE Tempah has announced his first album in 10 years as he dropped his new single.

The singer’s last album Youth was released in 2027, and included songs Girls Like featuring Zara Larsson and Not Letting Go with Jess Glynne.

A decade on and Tinie, 37, has shared the exciting news that he’s releasing his fourth studio album.

The musician shared a photo of the album’s front cover, which is titled The Night’s Not Dead.

Looking back on how much has changed over the last 10 years, Tinie wrote: “Last time I announced an album, lockdown wasn’t a thing.

“The UK was still in the EU, Supreme was selling bricks, memes were taking over the world, and 1 Bitcoin was worth £500.

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“So much has happened in the world since then.

“It’s crazy to be announcing my 4th studio album, ‘The Night’s Not Dead,’ coming 16th October 2026.”

He added: “The journey of a night out starts today with Heaven Or Hell ft. Reggie. The track to start your night with. Let’s go!”

Reggie commented: “The King! Inspired me when I was a kid and still inspiring the next generation. an absolute pleasure brother.”

This fan posted: “Oooh this is gonna go crazy,” while another wrote: “Living legend.”

Just last month, The Sun revealed that Tinie was set to release a brand new album.

He exclusively told us: “I’ve not released new music in a while, but I’m back on the grind and it feels good.

“I’ve started putting new music in my sets, but the album is coming in October.”

Tinie’s debut tune, Pass Out, hit the top spot in 2010 and he’s collaborated with massive stars including Rita Ora, Zara Larsson and Ellie Goulding.

But it was way back in 2017 that he released his last album, Youth.

In this revival, Tinie is keen to turn attention to grassroots music venues, where he started out.

Last month, he took to the stage at intimate Southampton venue The Brook alongside Rizzle Kicks to shine a light on the cause.

He said: “One of the reasons I came back was the next generation of artists who may miss out with the way things are going and things are closing. It put me down a bit to think, ‘Wow, this might be an era thing’.

“Behavioural habits have changed — clubs closing, small venues closing — it’s just concerning.

“I feel, as Brits, every ten years we have come to the forefront with a new genre, with garage or grime or dubstep, and I feel like it’s partially because of these spaces that incubate the talent.

“That was one of the motivations for coming back and I feel like it’s a really exciting space to occupy.”

William Orbit, the English musician and producer best known for his work with Madonna on her beloved 1998 album “Ray of Light,” died on July 23. He was 69.

His family announced his death Friday in an Instagram post that said he died at home but didn’t specify a cause. “He will be greatly missed by us and by so many whose lives he touched through his music, friendship and kindness,” the post reads.

Born William Wainwright in London in 1956, Orbit had already established himself in the worlds of dance music and movie soundtracks — he composed the score for the 1986 hockey movie “Youngblood,” with Rob Lowe and Patrick Swayze — when he linked up with Madonna at a moment of deep personal change for the pop superstar, who’d given birth to her first child and immersed herself in a variety of spiritual practices. Together the two developed a lush yet energetic sound that combined guitars, synths and throbbing club beats.

“Ray of Light,” which sold more than 4 million copies in the United States alone, spun off hit singles including “Frozen,” “The Power of Good-Bye” and the exuberant title track; the LP was nominated for album of the year at the Grammy Awards — Madonna’s only nod for that prestigious prize — and won the award for pop vocal album. Orbit won three Grammys in all over the course of his career.

In 2021, Orbit took pains in an interview with the Guardian to share credit for “Ray of Light” with the singer herself. Madonna, he said, is “a fabulous producer. When it says ‘produced by Madonna and William Orbit,’ people don’t always give her the credit for that. But she’s as responsible as me.”

Orbit and Madonna collaborated again for “Beautiful Stranger,” a Grammy-winning single from the soundtrack of 1999’s “Austin Powers: The Spy Who Shagged Me,” and for an electro-pop cover of Don McLean’s “American Pie” that featured in the 2000 movie “The Next Best Thing,” in which Madonna starred.

He also worked with Blur, U2, Beth Orton, Pink and All Saints, and he made music under his own name, including a 2000 LP, “Pieces in a Modern Style,” with high-tech interpretations of classical pieces by the likes of Samuel Barber and Erik Satie.

It may be summertime, but Karol G is unapologetically leaning into her sadness.

On Friday, the Colombian pop star released her sixth studio album “No Me Arrepiento de Sentir Tanto,” a 14-track project that details the depths of heartache one can only access when finally tuning out the world.

Tinged with dream-pop accents and acoustic instrumentation — though still fringed with her signature reggaeton-pop flair — it is a dramatic departure from her previous album, “Tropicoqueta,” a lofty, genre-rich album that envisioned a Latina-led utopia as a tropic floral paradise.

Now, with “No Me Arrepiento de Sentir Tanto” — which in English translates to “I Don’t Regret Feeling So Much” — Karol G swaps her vibrant, tropical facade for a soft blue vulnerability. Her special new brand of perreo melancolía features guest vocals by Drake (who sings in Spanish), Bruno Mars, Greg Gonzalez (of Cigarettes After Sex), as well as Spanish stars Judeline and Rusowsky.

The melodrama begins early on with the opening track, “Te Llevas To” — a moody EDM elegy that explores the loss of one’s self after a relationship ends. In an interview with Elle magazine, the hit maker shared that she spent a lot of time alone when creating this project, following her split from Colombian singer-songwriter Feid late last year — long before headlines caught wind of their breakup in January.

“Everything started when I went to Hawaii [last November]. I did a lot of hiking alone. I would climb the mountains alone. I would stand there gazing at the sky. I learned a lot about enjoying my solitude in this industry — we are really, really lonely. Compared to the rest of the world, you’re very isolated,” said Karol G in the Elle interview.

Rumblings of the new project first surfaced in April when Karol G performed at the 2026 Coachella Valley Music and Arts Festival as its first Latina headliner. There, she debuted “Después de Ti,” a shoegaze ballad joined by Greg Gonzalez, frontman of the indie-pop band Cigarettes After Sex; the song expressed profound grief after Karol experienced a loved one’s death.

“I cry a lot. I’m super sentimental and I’ve hated myself a lot for that,” Karol G revealed to Elle in her July cover story. “But at the same time, I’d rather suffer because I lived too much — because I loved too much, because I had too much fun — than to not have had those experiences, you know? I’m inviting everyone to be a little more dramatic, a little more extra.”

Although her classic bichota essence — a term Karol G frequently uses to describe herself, as a female counterpart to the Puerto Rican bichote, or “big shot” — is still heavily present in the new LP. Earlier this summer, Karol teased the song “Matadora” during the opening night of her international stadium tour in Chicago; produced by reggaeton pioneer Tainy, the sultry track is hallmarked by a muffled jazz trumpet and suggestive verses for an unknown paramour.

Her longtime collaborator, Colombian record producer Ovy On The Drums, also returns to incorporate elements of Karol’s the Grammy-winning 2023 album, “Mañana Será Bonito,” which followed her public breakup with ex-fiancé Anuel AA and grew into a massive commercial hit. With Ovy, Karol revived the shadowy timbre of her joint Shakira track “TQG” into the new “Bebiendo Lágrimas,” a reggaeton song that adamantly rejects the notion of love.

Mexican American producer Edgar Barrera — who previously worked with Karol on her merengue smash “Si Antes Te Hubiera Conocido,” as well as “Mi Ex Tenía Razón” and “Gucci los Paños” — reprises his role as a música mexicana connoisseur, aiding in Karol’s synth-doused Tejana-style cumbia, “Alguien Que Te Amaba.” (The track was also written with legendary songwriter Pete Astudillo, who co-wrote many of Selena Quintanilla‘s greatest hits.)

In the anguished “Con Quien Andara,” the singer pays tribute to the Spanish singer-songwriter Jeanette and her hazy, sentimental pop ballad from 1976 titled “Porque Te Vas?” And if that’s not enough of a nostalgia bomb, there’s the dream-pop reggaeton track “Bby Wow,” which features Judeline and Rusowsky and was inspired by the popular 2003 dancehall track, “Coolie Dance Rhythm” by Cordel “Scatta” Burrell. (Millennials may also recall echoes of this sample in popular tracks like Nina Sky and Jabba’s 2004 “Move Ya Body.”)

A word of advice for the Karol G fans — tropicoquetas and bichotas alike — this is an intimate record that’s best heard alone for the first time. So light up that candle, lock the doors and bring the tissues if you have to — just don’t be ashamed to feel all the feels, or shake your booty if the mood strikes.

JUNGLE are bringing Sunshine to summer – and entering their most confident era yet.

Following the unexpected global success of their 2023 album Volcano, the Brit-winning band return with a warmer, more organic fifth album, blending Brazilian rhythms, effortless grooves and nostalgia.

And the trio — Tom McFarland, Josh “J” Lloyd and regular contributor turned full-time member Lydia Kitto — might have called their fifth album Sunshine, but its warmth comes with a distinctly melancholic edge.

“It’s not about the weather or a season,” Lloyd explains. “It’s about relationships and distance and regret, and hope and longing for a better time.”

McFarland adds: “Everyone feels nostalgic about that summer when they were 16. Those emotional memories linger with us.

“Even the idea of memory is quite melancholic, because these great things happened, but they’ll never happen again.

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“You can recall them and remember how you felt, but that moment has gone.”

It’s day one of live rehearsals for Jungle when I join them at their studio in South West London.

Lloyd and Kitto have not long flown in from LA while dad-of-three McFarland is telling stories about his kids.

Despite the jet lag and the busy day ahead, the trio are as warm and easy-going as the title of their new album suggests.

Their new confidence follows the unexpected success of Volcano and its breakout song, Back On 74, in particular.

“That song was a big surprise,” says McFarland with a smile. “It went far bigger than we expected.

“We thought there was a certain level we could reach, but what happened with Back On 74 opened up a whole new dimension for the band.

“It brought so many more people to the music, and that has been a really cool thing to see.

“When we were in the middle of it, we didn’t pay too much attention. We don’t chase our own tails wondering whether we’re popular.

“You give the song away and hand it over to the public.

“The more you listen to the noise, the more you start to be directed by it.

“We were very keen not to think, ‘People like Back On 74, so let’s make a whole album like that’, because that’s where bands lose their way.”

Dance and striking visuals have always been central to Jungle’s story, with their cinematic, intricately choreographed videos becoming as distinctive as the music itself.

Their dazzling performance of Back On 74, which brought the celebrated video to life with a full dance troupe, was one of the highlights of the 2024 Brit Awards.

Their Group Of The Year win that night came as a genuine surprise, and Kitto says: “We didn’t have a clue.

“Loads of people were acting a bit fishy, so we were thinking, ‘Have we won? Haven’t we?’

“We thought we should probably write a speech just in case, but then decided there was no way we were going to win.

“So we sat down, had a bit of a drink and suddenly we’d won.”

McFarland adds: “We had a great night — we met Green Day, we got quite drunk and had a party.

“When you’re touring, you miss out on so many things, so being able to get family and friends in the same room and just have a dance was special.”

Lloyd adds: “Winning was a surprise as we don’t really pay that much attention to it.”

Jungle’s visual influence has proved equally powerful.

“What’s been really nice is seeing people make the choreography their own and connect with the visual side of the band,” says Lloyd.

“We’re obviously not a TikTok-generation band, but watching it blow up online was really cool.

“Seeing young kids dancing to our music in their living rooms was such a lovely thing.”

Lloyd co-directs the band’s distinctive, intricately choreographed videos with long-term visual collaborator Charlie Di Placido.

He adds: “You can see people, especially in advertising, starting to copy the band’s aesthetic.

“We’ve seen plenty of imitations of our videos and visual style, but I suppose we take it as a form of flattery. It shows that people have been inspired by what we do.”

Carry On was chosen by the band’s manager as the first single from Sunshine.

Lloyd says: “Once you’ve finished an album, you lose all perspective. You have so many different favourites, so you need an outside opinion to guide you through that final stage.

“Carry On has an old-school Motown, almost Sixties sound.

“It’s almost Jungle’s folk song, but it has a sadder emotional heart.

“Back On 74 is nostalgic, while Carry On is about overcoming heartbreak, rebuilding trust and finding the self-belief to push through difficult times.”

McFarland says affectionately: “My daughter loves this song — she walks around the kitchen singing it.”

Central to Jungle’s recent evolution has been Kitto, whose gorgeous, soulful vocals have become increasingly prominent across their music.

Having contributed to the band since their 2021 album Loving In Stereo and taken a leading role on Volcano, she is now an official member of the trio and steps further into the spotlight on Sunshine.

“Joining the band fully made sense,” she says. “I already felt so involved that I was sort of in Jungle anyway, so it was a natural progression.

“It’s like getting into a relationship with somebody — you hang out for a while and then think, ‘Oh yeah, this works’.” Lloyd — Kitto’s partner and her bandmate in music side project Loaded Honey — adds: “I don’t think people realise how long Lydia has been working with us.

“We’d been doing sessions and writing with her since before the third album, and then she joined the live band.

“Jungle had been built around group vocals for so long, but we were yearning for an emotional lead vocalist who could take these verses and connect with people.

“Lydia has that ability. She’s got a generational voice — an amazing soul vocal that takes our music to the next level.”

McFarland says: “We’ve always tried to create a universal message through the stories we tell.

“We were never going to be a band that told extremely personal stories.

“For us, it’s about giving people something they can hold on to and make their own. We want the music to have a global sound

that anybody can connect with. From day one, when we were making the first Jungle music, it was all about visiting imagined places we’d never been to.

“We’ve been lucky enough to visit many of them since, but at the start we’d ask, ‘What would it sound like if a band were playing on Cola Beach in South Goa?’

“We’ve always had that vision of putting ourselves — and therefore the listener — into a physical space.

“The Wave is a perfect example of that. You’re instantly on a beach.”

Lloyd adds: “We tend to see certain songs as brothers and sisters.

“The Wave harks back to Loving In Stereo and has something of Beat 54 from the second album in it.

“It has that sampled feel, although we created the sample ourselves. Originally it was much faster, before we slowed it down.

“It was actually the last song made for the album and was almost squeezed in at the end. There was something spiritual about it.

“The Wave represents the idea that you only get one life, so you have to be careful what you do with it.”

Romeo II is another one of those sibling songs, following Romeo from Loving In Stereo and again featuring Dreamville rapper Bas.

Lloyd says: “Romeo II was Bas’s idea. The track originally had a much longer title, but we wanted something more interesting.

“He suggested Romeo II, which felt great because it creates a sense of nostalgia for people who know the original.

“I think he was also referencing the tradition in hip-hop of songs having sequels.

“It gives the track an instant familiarity — people think, ‘I remember that Bas song from the third album, so I want to hear this one’.

“In some ways, Romeo II is actually even more Romeo in its subject matter than the original.”

And he jokes: “Bas has been on the last three albums — he’s going to join the band at some point.”

Lloyd continues: “We have always been inspired by Gorillaz and the way their collaborators became part of the family.

“You look at Del the Funky Homosapien on that first Gorillaz record and he appears across a couple of tracks. We’ve never viewed features as a way of gaming the system or chasing streams.

“For us, it’s always been about asking who’s good, who’s our friend and who feels like they genuinely belong within the collective.”

Talk turns to bands who put out greatest-hits albums.

Kitto says: “We could just do the same thing again and again and call it a greatest hits, like The 1975 do. They put out all their old songs and call it The 1975 At Their Very Best. There are no new songs at all.”

Jungle’s recent single Someday, Somewhere might just be the best song they have released, with its sun-soaked vocals, irresistible disco-funk groove and bittersweet blend of optimism and longing.

“I love that song,” says Kitto. “I can put it on at any point, and it changes your mood.”

For McFarland, Reflection is a favourite. “I love that song,” he says. “What I connect with is the way a song can transport you. When I’m driving in the sunshine, I’ll listen to Crosby, Stills and Nash radio and classic Laurel Canyon songs.

“Reflection does that for me. It takes me very vividly into a particular physical and emotional space.”

Lloyd says: “It depends on the day. We become very emotionally attached to the songs while we’re making and delivering them, but once they’re out, I tend to detach myself.

“Where Are You Now? was one of my favourites. I like the bouncier side of Jungle, but I also tend to choose the song that other people aren’t picking.

“If everyone likes one track, I’ll go for the other one.”

Soon it’s back to rehearsals for the trio’s world tour, beginning in the States next month, then heading to Europe and South America next year.

What matters most in a Jungle live show?

“The arc of the show is really important to us,” answers McFarland. “We want to build the audience up, pull things back again and create intimate moments alongside the more euphoric ones.

“I don’t think I’d ever get bored of playing Busy Earnin’ because it’s so much fun watching people have a great time.

“You see grandparents, their children and then their grandchildren, sometimes as young as six, all there together. It’s fun watching loads of people having a great time.”

Lloyd adds: “We want to be in control and make things according to our own vision.

“We’ve done well within the industry by not having to play by other people’s rules.

“Other artists have looked at what we’ve done and built careers from it.

“But we’ve only ever written our own narrative, and I think that’s really important as an artist to have the ability to fully be in control of your own story.”

• The album Sunshine is out on August 14. The band’s UK tour begins in Leeds in November.

JUNGLE

Sunshine

★★★★☆

Ariana Grande delivered a four-minute speech to more than 20,000 of her fans in Chicago on Monday night amid reports that she’s stepping away from the public eye due to online scrutiny.

During the first of three sold-out shows at Chicago’s United Center, the “Break Free” singer stopped the concert to address the widespread speculation surrounding her weekend announcement that she’d be stepping away from the public eye when her Eternal Sunshine tour concludes on Sept. 1.

Grande read the prepared statement from her phone, telling the audience that she didn’t want to get nervous and forget.

“Sometimes when a story comes out that’s not directly from me, things can get a little blown out of proportion,” she said. “So I just wanted to speak to my fans directly tonight because I love you so much.

“So basically, the announcement that was made yesterday was not a reactive or impulsive thing. It is something that I had decided. It’s a plan that I had quietly made a long time ago, and it’s a decision that was made from a thoughtful and empowered place, and I want you to know that many, many things can be true at the same time. I want to share this because I heard that my fans were worried that negativity was ruining things for me, but I just have to say, that could not be more the f— opposite.

“This is not what that is and I just want to make that very, very clear. Nothing can be ruined. Multiple things can be true at the same time. Boundaries can need to be set. Human beings can need a break sometimes. And also, this can be and will continue to be the greatest experience of my professional and creative life.

“I have one more thing to say,” she continued. “No matter what noises exist out there, nothing will ever be able to distort my reality or be more real to me, or louder to to me, than this love that we share, or than how it feels to make art with the people that I love and respect. Absolutely nothing will change that or distort that for me. And I want you to know that. I love you, and this is what I will always take with me and carry with me because the rest of that s— is not mine to carry, so I don’t carry it. I needed to get up here and differentiate that from my truth for you all, because I love you, and this tour has been the most healing, beautiful, corrective, magnificent, special experience and so has putting out [the album] “Petal.” It’s been extraordinary.

“I wish that words were enough to articulate just how much I love you all.”

A representative for Grande on Sunday announced her upcoming hiatus in a statement shared with multiple outlets.

The announcement coincided with news that the Grammy-winning and Oscar-nominated star would be dropping out of Stephen Sondheim’s West End revival of “Sunday in the Park With George,” in which she was set to star next summer opposite Jonathan Bailey.

Grande “looks forward to finishing [her current] tour and ending it on a high note, both healthily and happily,” the statement said.

Grande will then take “a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny.”

The announcement followed the Friday release of Grande’s eighth studio album, “Petal,” and the accompanying music video for the title track in which the pop star takes out a panel of her critics with a chainsaw. In response to the video, fans and foes alike flooded the comments section with remarks about Grande’s appearance and apparent weight loss.

The Times’ pop music critic Mikael Wood wrote of the album, “[T]he pop superstar opens the spigot on what she’s described as an ‘unfiltered rage’ to blast any number of feckless exes, a prying public obsessed with her body and her personal life — and not least herself for allowing anyone the power to hurt her in the first place.”

KATIE Price is ignoring all the Lee Andrews prison drama to announce that she’s recording a whole new album – just like son Junior.

Despite her recent husband woes, after Lee, 43, was recently released from jail for the SECOND time, Katie, 48, is determined to be a pop star.

The former glamour girl revealed her big music news on her podcast, The Katie Price Show, during a chat with her sister Sophie.

In the conversation, Katie chatted about how she had met R&B star Ginuwine, through her producer friend Shay.

The star then let slip that this was the person who was helping to relaunch her pop career.

Katie said: “So, basically Shay, who’s doing my album at the minute.”

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It comes as the star’s son Junior, 21, recently revealed he was also working on new music.

Katie previously teased her pop comeback back in May, when she again said on her podcast: “I’m in the studio tomorrow, recording a new original track, not a cover. So I’m excited!”

To date, the wannabe pop star has only released one studio album, which was A Whole New World, which she recorded in 2006 with her ex-husband Peter Andre.

In the 20 years since, she has only released a handful of singles, including Free To Love Again, Hurricane and last year’s Best Of Me.

Meanwhile, Katie’s much-discussed fourth marriage took a turn when it was revealed Lee was had been hauled back to jail AGAIN in Dubai.

The self-proclaimed businessman was being held at Al-Awir prison, for the second time in as many months.

The Sun revealed how despite being released a few weeks ago, Lee still faces mounting fines and financial demands exceeding £100,000 to £120,000 from his detentions at the notorious jail.

Katie made it clear in an interview with The Sun that she would not cover the cost.

“There’s nothing I can do. I’m not here to pay anything for anyone,” she told us in an exclusive chat earlier last month.

“I’ve got my own life. Even though he’s part of my life.”

Katie tied the knot with conman Lee in January, just 10 days after meeting him.

Ever since, stories of Lee’s lies, scams and imprisonments have filled the pages of newspapers and magazines.

RITA ORA’s fourth studio album is almost complete – but no one is quite sure what to expect from it.

Aside from her husband, Hollywood director Taika Waititi, that is.

Speaking to Bizarre’s Jack at a London screening to mark the 10th anniversary of his hit film, Hunt For The Wilderpeople, Taika said Rita’s long-awaited album was “amazing”.

He added: “This new record is incredible. I’ve heard a lot of it.

“It was such a departure from stuff that she’s probably known mostly for. It’s a different sound.”

Taika directed the sultry video for Rita’s latest ­single, All Natural, and also directed and starred in the video for 2023’s Don’t Think Twice.

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Getting Oscar-winner Taika to work on your project can’t come cheap, but Taika assured us with a wink that he and Rita had come to an arrangement.

He chuckled: “There is a very mates’ rates deal going on. I think it’s been free each time. It’s just fun to get to work together.

“It’s great because we’re kind of in similar ­industries, but they’re very different disciplines – and when you’re with someone, you want to be able to do some work together.

“I’m really amazed and surprised at what she does, but also super- confused all the time.”

Taika masterminded two of Marvel’s biggest hits – Thor: Ragnarok in 2017 and Thor: Love And Thunder in 2022.

He also plays the alien Korg in the films.

Taika admits that he’d love Marvel book bosses to sign up Rita for a role alongside him one day.

He said: “Younger me would like to see a Bond Girl Rita, but I think I’d find it more fun to see her doing a Marvel film.

“It would be great to see her as a villain.” Watch this space . . . 

RAYE’S GLOWING WITH PRIDE

CHRISTMAS came early for Raye fans as she took to the stage in a sparkly red dress.

The Where Is My Husband! singer wouldn’t have looked out of place at a festive party as she headlined Brighton Pride on Saturday.

Her bill-topping set followed epic performances from Jessie J and Leigh-Anne ­Pinnock.

The Little Mix singer kept cool in a yellow bikini top and combat trousers – putting her growing baby bump on display.

She is expecting her third child with footballer husband Andre Gray. They had twin girls in 2021.

Brighton hosts the UK’s biggest Pride festival, but it is dwarfed by WorldPride, which took place in Amsterdam over the weekend.

Going all out to impress, organisers in the Netherlands somehow managed to land Madonna to perform.

She owned the Dutch stage in a bright purple corset and matching boots.

Taking camp to the next level, Madge was joined for her epic set by Kylie Minogue, who sang with Nick Cave at his Brighton gig on Friday.

Rumours are rife that the duo have a song together on a remix edition of Madonna’s latest album, Confessions II.

We should be so lucky . . . 

ARIANA’S IN FULL BLOOM

ARIANA GRANDE is dominating this week’s Official Chart First Look.

The One Last Time singer is on track to land three songs from her new album, Petal, inside the UK Top 20.

The album’s title track and second single, Petal, is currently at No3, while Kiss Me is at No6 and Stay sits at No11.

The album was streamed 62million times on its first day of release on Spotify, making it the platform’s 16th biggest first-day album debut by a female artist.

Ariana’s 2019 album, Thank U, Next, remains her biggest first-day debut, with 70million streams in its first 24 hours.

MUSIC guru Chris Herbert is the man who discovered the Spice Girls more than 30 years ago, and now he’s backing another feisty young act, Allegra.

She is gearing up to drop a new project called Unreleased EP on August 21 and has her sights set on collabs with top stars.

Allegra, right, said: “I’d love to work with someone like Rita Ora. We’d have so much fun. She’s got such cool style and I think we’d just have fun.”

Opening up about how she ­performs best, she added: “I like it when I’m feeling a bit sexy.

“I think I’m a bit angry at, like, a situationship or an ex- boyfriend, I’m looking hot in the music video and I’m like, ‘OK, I’ve got this’.”

1D GOING IN RIGHT DIRECTION

DURING their heyday, One Direction were a money-making machine.

And even though the That’s What Makes You Beautiful singers split up back in 2016, the cash keeps rolling in.

New accounts for the band, made up of Harry Styles, Niall Horan, Zayn Malik, Louis Tomlinson and the late Liam Payne, have revealed they each made £2,636 a week last year.

And to top it off, they had to do absolutely no work for it.

Their two firms, 1D Media Ltd and PPM Music Ltd, are now worth a combined £3,814,044 – up more than £687,000 from the previous year.

It’s not a bad life, eh?

Who pissed off Ariana Grande? Well, who didn’t?

On her new album, “Petal,” the pop superstar opens the spigot on what she’s described as an “unfiltered rage” to blast any number of feckless exes, a prying public obsessed with her body and her personal life — and not least herself for allowing anyone the power to hurt her in the first place.

“Tell me who’s to blame — is it the people or myself?” she wonders against the icy synth stabs of the title track.

Her answer, delivered as a sneering little aside: “Yeah.”

“Petal” marks a dramatic shift from Grande’s previous LP, 2024’s “Eternal Sunshine,” a tender and melancholy electro-pop collection that laid out a kind of emotional philosophy of heartbreak. She recorded the new album with the same team — the hit-making writer-producers Ilya Salmanzadeh and Max Martin — but here they go for a murkier, more percussive sound to match Grande’s dark mood.

Tolling electric guitar accompanies her in “Freak” as she muses on “all of the life I’ve been denied,” while “Oh Well” puts a jittery U.K. garage beat under her sneering farewell to an unnamed antagonist: “Good luck on your way to hell.” In “Hate That I Made You Love Me,” which debuted at No. 1 on Billboard’s Hot 100 when Grande released it as “Petal’s” lead single, she sings, “I’ve held your projections when you’ve felt so insecure,” over a trudging groove that moves like a funeral march.

These downcast observations arrive at what would seem to be a professional high point for Grande, who recently wrapped her extended stay in the “Wicked”-verse and who’s in the middle of a tour that’s drawn adoring fans to arenas across the country.

But perhaps that’s the point: Almost every song on “Petal” can be interpreted two ways — as a story about a broken relationship between two people or as a tale about the toxic connection between an idol and her audience. (More than once did this record make me think about Taylor Swift’s “The Tortured Poets Department.”)

“My pain is music — do you hear me everywhere?” Grande asks in “Warning Signs (Interlude),” which climaxes with a pithy diagnosis of pop stardom in the parasocial age: “You don’t deserve me / You know you don’t, you never have / But I want you to feel me / I wish someone could hear me.”

Complaints about celebrity can be pretty tedious, of course; sometimes it feels as though famous pop singers have forgotten how to write about anything other than life in the social-media fishbowl.

Yet “Petal” gets some creative traction from how Grande chooses to use her voice; instead of belting, she rarely rises above a whisper, which gives a spooky, slightly creepy quality to her thoughts on being endlessly scrutinized. The airiness of her singing provides some comedy too in a hard-edged song such as “Like I Do,” where after noting that “all that s— talk keeps me well-fed,” she tells whoever needs to hear it, “No one f— you like I do.”

Having gotten all this off her chest, Grande finishes the album by allowing in some light: Over a zippy new wave arrangement, “Bad Thing (Bunny Hop)” ponders the renewing energy of a fresh romance — or maybe a rekindled old one — while the glistening “Nowhere, Nobody” has her taking deep breaths with a lover she’s convinced might finally give her what she needs.

“Convinced” is probably the wrong word.

“Hard to believe in a perfect ending,” she admits, “But that’s all right.”

BLACK Sabbath’s Tony Iommi last released a solo album more than two decades ago.

And now, as he finally announces a new record, From The Dark, he reckons it might take just as long to get presented with his MBE.

The legendary axeman was in the Actress & Bishop boozer in his native Birmingham to celebrate the album’s release when asked when he’d be going to Buckingham Palace.

Tony was made an MBE in the King’s birthday honours last month, for his services to music and charity. But he joked: “I’d forgotten about that. They have probably changed their minds now.”

From The Dark, out on October 23, is Tony’s first album since 2005’s Fused, when he teamed with former Deep Purple, Sabbath and Trapeze singer and bassist Glenn Hughes.

Queen’s Brian May plays a guest solo on Death Wake, and the blistering lead single, the upbeat but punchy World Alone, confirms why he earned the nickname The Master Of The Riffs.

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That moniker’s all the more impressive when Tony reminds us that he lost the tips of the middle and ring fingers of his fret hand as a teen, while working in a sheet metal factory in the city.

He recalled: “I went to different doctors and they said, ‘You might as well give up and find another profession’.”

So he made replacement fingertips. He said: “I got a Fairy Liquid bottle, melted it down into a ball and then got a soldering iron and made a hole in it, so it fit on my finger.

“I tried to play and it slipped off. I had to find a material that would grip the strings like skin, so I cut one of my old rocker leather jackets up, and it worked.”

Iommi fans are in for a treat with From The Dark — which has eight tracks, with two additional songs, Scent Of Dark and Deified on the deluxe version.

It was two years in the making, with Tony enlisting Jorn Lande on vocals, bassist Becky Baldwin and Robbie Williams’ longtime drummer Karl Brazil.

The process was slowed by the loss of Tony’s Black Sabbath bandmate Ozzy Osbourne last July, with Tony stepping back from recording for a while.

The pair exchanged text messages the night before Ozzy died. He said: “I didn’t expect him to go overnight. It was a hell of a shock.”

On returning to work on the record, Tony added: “We’ve done it casually really, because there was no pressure.

The album is steeped in his home city’s history. He said: “The whole record is designed around Birmingham. The T-shirts have been made in Birmingham, the merchandise has been made in Birmingham.”

In front of a small group of guests, with Frank Skinner taking on the interviewing duties, Tony unveiled the dystopian video for World Alone, which was filmed in Cornwall.

“I hate doing videos, I’ve never liked them,” he said.

“This one is more like a film and I am in it but not wanting to be.”

Despite his reticence at getting in front of the cameras, it sounds likely Tony will return to the stage.

Asked whether fans will hear him play the record live, he smiled and said: “You may do.

“Anything’s a possibility.”

Tate shapes up for comeback

TATE McRAE gets fighting fit for her comeback as she prepares to release new music.

The Canadian pulled on her skintight workout clobber and pumped iron for an Adidas Originals Sport campaign.

It comes ahead of a return to the stage this weekend, almost nine months after her last concert.

Tate will headline the Osheaga Festival in Montreal on Saturday, and Lollapalooza in Chicago the following night, as teasers on social media suggest she might debut new songs.

Previous album So Close To What became her most successful yet when it peaked at No2 in the charts last year.

But with her star power continuing to rise, I’m sure she’s got her sights set on turning the next record into a chart-topper.

It’s Olivia RodLego

OLIVIA RODRIGO has recreated her latest album cover in Lego form – and will hide versions of the record around the world.

She posed in this plaid mini-dress at a pop-up event in Los Angeles, where it was revealed 333 toy-brick vinyl versions of You Seem Pretty Sad For A Girl So In Love will be available.

The album is in the UK Top Three for a sixth week.

Olivia and Lego will drop clues on social media, hinting at record shops where fans might be able to get the special versions.

I expect to see them popping up on eBay for astronomical sums any day now.

Ruben’s hol alone

RUBEN Dias has made sure everyone knows he’s one of football’s most eligible bachelors, following his split from Maya Jama.

The Manchester City defender broke up with the Love Island host at the end of April.

Three months on, and following his appearance at this summer’s World Cup with Portugal, he has jetted off on a lads’ holiday to Ibiza.

Judging by the photos of his rippling six-pack he shared on Instagram, Ruben got his mates to take thirst trap pictures for him while they were there.

But hinting that he’s still not totally over the split with Maya, he captioned the post: “Feelings on silent.”

With pictures like this, there will be plenty of people offering him a shoulder to cry on.

lMILEY CYRUS’ rocker fiancé Maxx Morando popped the question on holiday in Japan last autumn.

He told Wonderland mag it happened in “this little outer garden”.

Maxx added: “She was taking videos, and was turned away. I got on one knee and tapped her on the shoulder.”

POP superstar George Michael’s estate is suing his former best pal over footage from the recording of a lost album.

Andros Georgiou, 63, faces court for charging fans to watch scenes which he recorded of the ex-Wham! star.

George’s former best friend said he would be “turning in his grave” after the pop singer’s estate sued him over video footage of a secret unreleased album.

The Wham! star’s lawyers are taking Andros to court after he released almost 90 minutes of unseen footage shot in 1992 and 1993.

Andros launched a website last month charging fans to watch the film Trojan Souls — The Greatest Album That Was Never Made.

The record was to feature Elton John, Stevie Wonder, Janet Jackson, Aretha Franklin, Bryan Ferry, Seal and Sade.

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But the legal team from George’s estate has now lodged a case against him at London’s Intellectual Property and Enterprise Court, claiming its rights have been breached.

Furious Andros, 63, said the legal claim was “a case of sheer greed”.

On George, he said: “Yes, we fell out, but we loved and cared for each other deeply, and I find the baseless claims and the constant attempts to erase me from history both disrespectful and, frankly, a bit desperate.

“The film belongs to me.

“Trojan Souls belongs to me.

“They’ve opened Pandora’s Box.

“They won’t want me on the stand.

“I know way too much.

“Bring it on.”

Andros’s film shows the making of tracks for Trojan Souls: The Voice of Reason, a collaboration album with global superstars.

Pop fans are being asked to pay £4.99 for 48 hours of access to the 90-minute video online.

Tribe Media is also selling £19.99 VIP tiers, promising access to never-before-heard recordings of George’s unreleased songs from the record.

Andros shot the video using a camcorder given to him by Sony while they were in Japan on George’s Faith tour.

Andros said: “First and foremost — my brother in arms, my best friend, George Michael to you, Yog to me — would turn in his grave knowing what Russells (the estate’s lawyers) are attempting — and spending his money to do it.”

He went on: “It is well known Yog and I were working on Trojan Souls through my record label, Hardback Records.

“The film I have released was shot by me, with Yog’s full approval.

“This was a home video leaked over 30 years ago.

“It kept resurfacing on YouTube.

“So I decided, if you can’t beat them, put the film out myself, since others were already profiting from my home video.”

The legal case lists Andros and Tribe Media, the production house distributing the film.

The claimants are Robobuild Limited and Big Geoff Overseas Limited, the holding companies George used to manage royalties and world tours.

Andros and George were estranged before the star’s death on Christmas Day, 2016, but had been planning to reconcile.

They fell out after George’s arrest in an LA public toilet in 1998.

But Andros had spoken to his pal on the phone in the final weeks of his life.

The pair had a close friendship for decades after their fathers moved to the UK from Cyprus together in 1953.

Most of the one-hour 24-minute film shows George playing the piano, performing vocals with backing singers, grabbing a bass and talking to producers about his track list in an LA studio.

George lost interest in the album when his then-partner Anselmo Feleppa’s health declined.

Anselmo, who suffered from Aids, died in March 1993.

George never completed the album.

It can take up to two years for a case at the court to reach trial.

Lawyers for George Michael’s estate were asked to comment.

Twenty-five years after “Is This It,” the Strokes are as big as they’ve ever been — and not just among old heads eager to relive the wasted glamour of the early-2000s garage rock revival. Go to a Strokes gig these days — they’re playing arenas and headlining festivals like next month’s Just Like Heaven in Pasadena — and you’ll find teens and twentysomethings in the audience; open up Instagram and there’s frontman Julian Casablancas dispensing viral hot takes on the New York City subway. On Spotify, the band’s most-streamed song isn’t the Giuliani-era “Last Nite” but “The Adults Are Talking,” which came out at the beginning of the COVID-19 pandemic — a feat of cultural endurance unmatched by any of the Strokes’ Gen X or millennial peers.

So what better time to drop a new album full of arcane jokes, baffling vocal affects and light conspiracy theorizing?

The group’s first LP since 2020’s Grammy-winning “The New Abnormal,” “Reality Awaits” is easily the nuttiest entry in the Strokes’ catalog, with a spooky opening track, “Psycho S—,” in which Casablancas, his voice slathered in AutoTune, ushers the listener “past the hall of judging dead into the bed of nightly dread.” (Sexy!) “Falling Out of Love” is a lilting robo-country ballad about dancing alone under acid rain; “Liar’s Remorse” is a voice-and-guitar lament about submitting to artificial intelligence that Casablancas croons for some reason in a terrible Caribbean accent.

Then there’s “Lonely in the Future,” in which Casablancas name-drops John Legend and Josh Groban, appears to ding Harry Styles for cribbing the beat from the Strokes’ “Hard to Explain” and informs Anthony Fantano, the popular internet music critic, that he “would not recognize art in any age.”

Philosophically, “Reality Awaits” feels less like a Strokes album than like a Casablancas solo record or an effort by his other band, the Voidz, which he’s used for the last decade or so as a kind of finsta for his harder-edged sociopolitical musings. “Going Shopping,” the LP’s lead single, casts a condescending eye on anyone insufficiently troubled by what the singer views as the creeping tyranny of a super-rich ruling class: “The worse reality gets, the less you want to hear about it / Solidarity can be difficult when you got cool stuff to lose.” That “Going Shopping” is the album’s jauntiest cut — with a music video that restages Paul Simon’s “You Can Call Me Al,” no less — only sharpens the critique.

Yet every now and then the Strokes, who absolutely ripped at Coachella in April, lock into a groove with the springy precision that’s been the band’s signature since the beginning. “Dine N’ Dash,” “Going to Babble On,” “Lonely in the Future” — it’s pure pleasure to hear the guitars in these songs slashing away over a rhythm section as crisp and nimble as this one. For all they’ve absorbed from their forbears, the Strokes don’t sound like anybody else, even when they seem to be trying to, as in “The Fruits of Conquest,” which suggests early Maroon 5 having a go at the Rolling Stones’ “Miss You.” (Obviously, I mean this as a compliment.)

You can view the indelibility of the Strokes’ style as the reason the band makes so many wacky decisions on “Reality Awaits”; looked at differently, the band is taking advantage of its persistent success to spend a bit of creative capital. Either way, Casablancas doesn’t actually seem worried at all in “Going Shopping” when he voices some anxiety about how long he can continue to matter. “I’ve been thinking about what I want to say,” he sings, “But I’m an old man now — at least that’s what they tell me anyway.”

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.