Country Music

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“And I had to personalise this.

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

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

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

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

“This has been going on since the Seventies.

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

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

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

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

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

“For me, it’s about the philosophy.

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

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

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

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

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

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

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

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

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

“Criminal law is her calling.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“And touring took money. 

“That’s why I never had tour support.

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

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

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

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

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

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

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

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

“But vocally, I did have to make changes. 

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

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

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

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

“It was a strategic, compositional choice.

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

“And we’re having a blast. 

“They’re amazing singers. 

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

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

“I have so much respect for Nick Cave.

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

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

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

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

“Her journey as a little girl with her muses.  

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

•  In Times Of Dragons is out on May 1. 

TORI AMOS 

In Times Of Dragons 

★★★★☆

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

this thing I loved.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And that sense of place runs throughout the album.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NOAH KAHAN – The Great Divide

★★★★★

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

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

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

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

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

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

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Aged 67, she is finally cool again.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE ROLLING STONES continue to champion new talent, this time signing up Marty Supreme actress Odessa A’Zion for their next video.

The wise old rockers previously cast Sydney Sweeney in the vid to accompany 2023 comeback single Angry.

Now they are hoping to repeat that success, as I can reveal they have got one of Gen Z’s buzziest names on board.

Odessa filmed the visuals during a hushed-up two-day shoot at Battersea Arts Centre in South London last week.

I’m told loads of extras of all ages and styles were brought in to reflect the Stones over the years.

A music industry insider said: “The video represents the Stones through the ages. There’s a lot going on. They brought in lots of extras to represent subcultures and sonic histories.

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“The idea is it blends everything from blues souls and punk kids with old school rockers and Northern Soul dancers.

“Then there’s a load of glam rock attitude and DIY chaos to echo the legacy of the Stones.

“Odessa is at the centre of it all.

“The video should look really impressive when it’s all tied together.”

The return of the Stones has been talked about for a while, but there isn’t long left to wait at all.

The band is expected to drop a new song today, as I revealed on Wednesday.

Mick Jagger, Keith Richards and Ronnie Wood have been teasing their return under the pseudonym The Cockroaches.

They are coming back with their 25th album, believed to be titled Foreign Tongues, which is largely being touted as their final record together.

It is a follow-up to their 2023 album Hackney Diamonds, with the tracks mainly being written and recorded during the same sessions.

Unfortunately for their fans, I’ve been told there are no immediate plans for the band to hit the road again just yet.

But I live in hope the band will rethink that — when they see just how many people snap up this new album when it drops later in the year.

Zara up to finny business

ZARA LARSSON is por-poised for action as she lifts a dummy dolphin over her head.

She dazzled in a sequined skirt split to the waist and a tiny bikini top while fronting Spanish label Desigual’s Life’s A Beach campaign.

Zara has signed a major deal with the clothing brand for a new range inspired by her Y2K look.

Meanwhile, her US tour ends tomorrow in Houston, Texas – then she’ll focus on a deluxe version of her 2025 album Midnight Sun, due out next month.

Zara has remixed tracks with female collaborators. Tyga, Madison Beer and Jade are among stars expected to be involved.

The record originally peaked at No36, but with Zara enjoying a popularity surge, I predict a massive leap up the charts.

Derm’s so Keane on his main man

DERMOT KENNEDY has a surprising role model in his music career – football great Roy Keane.

His inspiration during gigs is the memory of Man United hero Keane playing against Juventus in 1999.

Despite being yellow-carded, the captain put in a blistering performance that took them to the Champions League final.

Dermot whose album The Weight Of The Woods became his third No1 last night, said of Roy: “If you ask about the way I sing, it’s purely him.

“He has a thing in his book where, when he was younger trying to get spotted, he would play a match to 100 or 200 people, and he developed the skill of creating the atmosphere in his head.

“I think I have that in music. If I play to ten people, I will rip it because I don’t care how many people are there.”

Dermot also shares a love of football with Roy once playing for Dublin’s Crumlin United.

He said: “I’m a far better person when I’m playing football regularly. Whatever feeling everyone thinks I get from music, I get it from football. It’s the one time my mind is clear.”

But Dermot has another reason to be inspired after his wife Aisling Finnegan gave birth to their daughter.

Asked how long they have been together, he told the And The Writer Is . . .  podcast: “I would have been eight years old.

“We went to school together. What age did I know? Early twenties, probably.”

Michaela in a flap

MICHAELA COEL looks amazing despite her suit falling apart at the seams as she steps out in New York.

The actress, whose outfit had several flappy features, recently admitted she didn’t love appearing in 2022’s Black Panther: Wakanda Forever, in which she played warrior Aneka.

She said: “I really don’t think I was ready for that world of green screen acting. I don’t know how to do that.”

Maybe she’s struggling with new styles.

Nineties exhibition shines the spotlight on Scary’s catsuit

THE famous leopard-print catsuit Mel B wore when the Spice Girls performed at the Brit Awards in 1997 is going on display.

Former Bizarre editor Dominic MOhan has curated the exhibition, 1996: 30 Years On, and managed to get hold of the catsuit which was worn to perform their debut hit Wannabe.

Mel said: “It was all a crazy Nineties whirlwind but, in my leopard print, I knew I could take on anything. This outfit is sexy, naughty and bold, which pretty much sums me and the Nineties up.”

Also on display will be Emma Bunton’s dress from the same performance, Geri Halliwell’s Union Jack boots and a signed Liam Gallagher‘s tambourine.

It opens on Thursday at the Barbican Music Library in London and runs until September 19.

Dom will be launching his four-part show Cool Britannia on Virgin Radio tomorrow from 6pm.

OLIVIA DEAN is obsessed with Love Island.

She said: “I just watched Love Island All Stars and, oh my god, what amazing television that was.

“Thank you everybody involved for that. It really got me through the last couple of months and I loved it. No notes. Can’t wait for the next season.”

She also had a message for its host: “Maya Jama, I love you.”

Even pop’s busiest acts can’t resist a bit of villa drama.

Masterclass by B-Side Boys as jangling Mars Attacks

THERE aren’t many acts that can pull off five sell- out shows by promising only B sides, album tracks and no hits.

But the Pet Shop Boys did, without breaking a sweat.

I’d happily listen to Neil Tennant sing the back of a crisp packet, but he and Chris Lowe had something more special in store here in Camden, North London.

They whipped out guest Johnny Marr early on, who added some excellent guitar jangling on Up Against it from 1996 and 2003’s I Didn’t Get Where I Am Today.

They might be synthpop’s finest duo, but they can rock out too. With a back catalogue spanning more than 40 years, you can forgive Neil for needing lyrics printed out for the more obscure numbers, and being overjoyed at a stool, joking: “Ooh, I can sit down now, like Westlife.”

They finished by teasing the launch of their upcoming musical, Naked, performing a song from it called I Dream Of A Better Tomorrow.

Right now, that’s a mantra we can all get behind.

FOR Dermot Kennedy’s third album, he wanted to explore both the beauty and burden of a successful music career. 

The award-winning Irish singer might headline huge arenas but he has always had his feet firmly on the ground, valuing a normal life, privacy and simple things such as walking in his local woods — the theme of his new record. 

He says: “I feel I’m at a sweet spot, because I can play The O2 in London but I can walk around all day and no one really knows who I am. 

“Having a career in music is a blessing. It’s the most amazing thing, but at the same time, there are certain challenges that come with it. It tests relationships and tests your own resolve, it’s a ­pressure. And I wanted to write about that.” 

The pull of nature as a place to reset became more powerful to the singer as he found success — both his previous collections, Without Fear (2019) and Sonder (2022), topped the album chart. 

“With a career in music, you’re not anonymous, you’re constantly moving from city to city,” he explains. 

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“Being somewhere where you can only see trees in every direction has become more and more important to me, and more powerful. Where I live is quite remote, and that’s the way I want to be.”

This recurring woodland imagery reflects a sense of calm and nostalgia to Kennedy, and the cover of his new album, The Weight Of The Woods, features the singer in a woodland setting. 

As we chat in his central London record label offices, he’s signing a huge pile of his new CDs.  

“It’s a great album cover,” he says smiling. “Even signing these all morning, I’m not sick of looking at it yet.” 

A standout on Kennedy’s new record is the track Sycamore, a gorgeous introspective ode to home and identity. 

“The Irish landscape has always been important to me,” he says. “Where we took the picture for the album still resonates. It’s a big part of how I’m inspired.” 

Working with producer Gabe Simon — who produced Noah Kahan’s 2022 breakthrough album, Stick Season — Kennedy made The Weight Of The Woods in ­Ireland, Nashville and Norway. 

He says: “Sycamore is lush and smooth, which felt different for me. It was the first song we made when Gabe came over — there’s a sycamore tree right in front of my house that’s become a kind of ­talisman in my life. It felt like a lovely way to start. 

“A lot of these songs carry a vulnerability I haven’t shown before, and that felt important, because you can’t pretend you’re 100 per cent all the time. It’s just not true.” 

This shift shows a new confidence, one that allows him to do things his own way. 

“Generally, I’m a quiet person, so on previous albums I wasn’t the loudest in the room whereas with this one, I have the confidence to shout for it and take my time. 

“It’s taken this long to get to a point where I know what I want — what I need and what’s authentic.” 

The Weight Of The Woods reflects a stage in his life where Kennedy feels more secure, more at home and more fully himself. Now married with a baby daughter, his perspective has shifted in ways he struggles to fully articulate. 

“How has fatherhood changed me?” he ponders. “It’s hard to sum up, I can’t explain it in a couple of minutes. 

“It just means the world to me and gives you a completely new perspective on life. 

“It makes you realise there are more important things than chasing goals in music. 

“The best thing I can do now is make music that moves me and try to live in a way that feels like the purest version of who I am. It becomes the centre of everything. 

“Fatherhood has given me more confidence, but also a different kind of fragility, making me more emotionally open. 

“A lot of these songs carry a vulnerability that I haven’t shown in my music before, and that’s important.”  

Musically, Kennedy feels the album has a strong Irishness, though it was not a deliberate concept.  

Honest is a track that feels especially personal, as it directly references where he is from in Ireland. 

He says: The first lyric is about Kilteel [near Rathcoole, Co Dublin] which is an important part of where I’m from. It’s a more personal record so I needed to tell the story of where I’m from.” 

He reflects on the pull of home: “Sometimes when you’re trying to have a career in music, people assume they need to move away and live somewhere else. 

“But in Ireland we have one of the richest musical landscapes in the world, you know? So, it’s nice to be a part of that. 

“And it’s the most Irish-sounding track. I played the bodhran [a traditional Irish frame drum] on it, the drum you hear at the beginning, and there’s also a tin ­whistle. It all came together very naturally so these songs feel dynamic to me and they’re really going to work live.” 

Wasted is a favourite of Kennedy’s on the record. Inspired by US singer and producer Dijon, he says: “It felt like it had that excited, upbeat energy without being pop. It felt real in the room and exciting.” 

Then there’s The Only Time I Prayed, which explores the singer’s relationship with faith. 

“I’ve got songs like Glory, and lyrics about the devil, but I’d consider myself definitely agnostic. I believe in otherworldly things but I’m not a practising Catholic. 

“Still, when things get difficult, people pray — regardless of faith. It comes from desperation, and I find that fascinating. Sometimes I even feel envious of people with a strong faith.” 

Another highlight on the record is Funeral, a stunning track about letting go of the past to move forward. 

“I just wanted that song to be about ditching any difficult stuff I’ve been through,” he says. 

“Songwriters spend an awful lot of time wallowing in the past and I wanted it to feel triumphant — moving forward into something more positive. 

“It felt good and the vocal carries an energy which is always a fun thing on a song.” 

On this third album, Kennedy feels more confident, self-assured and clearer about what is authentic to him. 

He says: “It’s less inhibition and less stress — not poring over every decision. So confidence showed up in quite a carefree, exciting way.” 

It was important to Kennedy that the album was stripped back and imperfect to add to the studio atmosphere. 

“Musically, if you listen closely, there are lots of imperfections, little noises other artists or producers might take out,” he says.  

“You can hear someone talking, a chair creaking. It puts me back in that room, and I don’t want to lose that.” 

That same approach mirrors a wider creative release: “I feel like I’ve let go massively, which is a good thing.” 

That sense of letting go has also reshaped how he defines success. 

“Any pressure that came with the second album was internal, applied by myself,” he says. “I don’t think being competitive puts me in the best place to be the best artist I can be. I’m pretty sure it doesn’t.  

“Tracking streams or records isn’t success to me. With this record, it was just lovely to get back to a place where I really enjoyed making the music, the visual world around it, and playing the songs.  

“Don’t get me wrong, I still want lots of people to hear it, but I feel like I’ve already succeeded with this project.  

“If it reaches a ton of people, that’s fantastic, but I had a beautiful time making it, and that’s everything. 

“When you chase numbers and all that stuff, it’s all quite surface level and not very fulfilling in the end. 

“I don’t think trying too hard is the move. It’s important to work hard and promote things, but being overly try-hard isn’t appealing.  

“It’s better to sit back and let the music do the work. By letting go — stepping back from social media and putting the music first — it feels more likely to set my career up the way I want it.” 

Live performance remains central to Kennedy’s identity. He feels he has built his career the “old-fashioned way” by playing rooms and winning audiences over. 

He says: “Nowadays, there’s so many ways that someone can forge a career. You can blow up on the internet or go viral. For me, it’s never really been like that. 

“It’s been more about getting people into a room. I think I can play in such a way that they might want to come back and see it again next time.” 

“For me, when I dreamed about having a career in music, all I thought about was playing in big, beautiful theatres. So playing live is an important part of what I do.” 

Even as he now fills large venues, Kennedy is keen to preserve a sense of intimacy within those spaces. 

He explains: “We’re going to do it differently. There are lots of ways you can use tech in a live show. You can run tracks for things like horns and production, but then the whole show ends up on track and can feel like elevated karaoke. 

“You can come off stage feeling like you haven’t really achieved much. So, with this tour, we’ve got rid of the click track and any backing tracks. It’s about keeping it real and letting the performance have more freedom. 

“We’re getting rid of any kind of bells and whistles, and it’s just fun. I could start a song at any tempo, I could be feeling a certain way that ends up being a faster version with more energy, or we could pull it right back. 

“You go to a live show for the energy, and I think it’s far easier to tap into that special place if you don’t have that stuff.” 

Kennedy is also more careful about looking after his voice when he tours 

“I try not to do more than two nights in a row, because it compromises the rest of the tour. It means I can walk on stage excited, instead of just hoping I get through it.” 

It’s part of a wider shift in how he approaches performance. “It’s a process as well, working with vocal coaches and stuff. I run a lot more now, because you need that lung capacity. I’m not sure about other ­people’s experience touring, but it feels like a sport sometimes.” 

That mindset has also made him more aware of the level required to sustain a major live career — something he saw first-hand watching ­Taylor Swift live. 

“Well, I saw her at the venue I’m playing this summer, and it was inspiring.” he says. “I saw Travis, her fiancé, talking about her fitness regime and just how she’s operating at a kind of scary level. 

“I find that really inspiring, because it makes you realise this is a very high level of what we do — you have to take it seriously. When someone is that on top of their game, it’s just incredibly motivating.” 

“The show is, what, three hours long? It was wild to see. And honestly, it was just cool to be in Dublin and see people so excited by those songs.  

“What really struck me was that it was just her songs. You realise this is someone who started out just writing songs, and now it’s millions of people all over the world. 

“But it doesn’t feel like some manufactured pop machine. It just feels like someone who writes songs, and that’s what makes it so powerful.” 

• The album The Weight Of The Woods is out on April 3. 

DERMOT KENNEDY 

The Weight of The Woods 

★★★★☆

GO to Dungeon Lane today and it’s strange to think it occupies a special place in Paul McCartney’s heart.

Yet it will go down in pop history alongside other street names associated with him, joining Penny Lane and Abbey Road.

Situated in the Speke neighbourhood of Liverpool, the L24 postal district, a faded road sign sets the tone for its desolate air.

It is bordered on one side by a solar farm business and, on the other, by a fenced-off area of scrubland which separates it from the city’s John Lennon Airport.

Before you get very far, a bright yellow “emergency access gate” bars further exploration.

But, as a child, Dungeon Lane was McCartney’s gateway to a stunning rural idyll where he could escape the hustle and bustle of urban life.

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In the Fifties, the lane took him past a daffodil farm to the Oglet Shore on the widest stretch of the River Mersey.

I wonder if young Paul, a keen birdwatcher, ventured into this wilderness clutching his trusty The Observer’s Book Of Birds.

There, he may have spotted any number of waders — curlew, snipe, dunlin, black-tailed godwits.

What we do know is that his lifelong love of our feathered friends began in those days.

This helps explain the compositions dotted through his career such as Blackbird with The Beatles, Single Pigeon with Wings, Two Magpies with The Fireman and solo efforts Jenny Wren and Long Tailed Winter Bird.

To McCartney, his early rambles into the countryside represent humbler, simpler times before The Fab Four exploded on to the scene, before his storied life in the dazzling glare of publicity.

Sir Paul, 83, has called his 19th solo album The Boys Of Dungeon Lane . . . which is, as he suggests, a trip down memory lane.

He got the title from the lyrics of its first single, Days We Left Behind, released yesterday, a nostalgia-filled acceptance that he has a far longer past than future.

Intimate, beautifully sung with Macca playing acoustic guitar, bass, piano and harmonium himself (how does he do that!?), it is the first taste of a project that has been five years in the making.

“This is very much a memory song for me,” he says. “I was thinking about just that . . . the days I left behind.

“And I do often wonder if I’m just writing about the past — but then I think, how can you write about anything else?”

For McCartney, the song conjures up “a lot of memories of Liverpool. It involves a bit in the middle about John [Lennon] and Forthlin Road which is the street I used to live in. Dungeon Lane is near there.”

Paul was born on June 18, 1942, to his midwife mother Mary and salesman father Jim, and they moved with younger brother Mike to 20, Forthlin Road, Allerton, in the mid-Fifties from Speke, where they had lived since 1947.

We also know that Paul first bumped into John on July 6, 1957, at roughly 4pm, at a garden fete behind St Peter’s Church, Woolton.

In Days We Left Behind, he sings of the bond he formed with the lanky lad 20 months older than him: “We met at Forthlin Road/And wrote a secret code/To never be spoken.”

Continuing his reflection on the song, he says: “I used to live in a place called Speke which is quite working class.

“We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice you didn’t have much.”

As already mentioned, birdwatching was a hobby, one that required little cash and gave him a lot of pleasure “in the nearby woods and fields”.

A recent entry in Macca’s Spotify playlists, under the banner Sticking Out Of My Back Pocket, came accompanied by these musings . . .

“My mum had the midwife’s house on the edge of Liverpool, where we lived,” he says.

“It was where Liverpool just stopped and became deep countryside, so that was when I had the opportunity to do quite a bit of birdwatching.”

He particularly cherishes the moment he saw a “skylark rising into the sky, singing its sweet song”.

That unforgettable sight has found its way into Days We Left Behind, with its lines, “In the skies the skylarks rise/Above the sounds of war/Since that day I knew they’d stay/With me for evermore.”

All these decades later, he reflects: “And now because I live part-time on a farm [in Sussex], I’m able to see a lot of birds and I don’t need The Observer’s Book Of Birds quite so much as I did back then.”

McCartney’s new album promises to be one of the most personal, most autobiographical song cycles he’s ever recorded, while also finding room for up-to-date love songs dedicated to third wife Nancy.

Yesterday’s announcement states that it finds him in a “candid, vulnerable and deeply reflective mood, writing with rare openness about his childhood in post-war Liverpool, the resilience of his parents, and early adventures shared with George Harrison and John Lennon”.

I’m guessing here but songs yet to be heard, Momma Gets By and Salesman Saint, appear to be affectionate remembrances of mum Mary, who died when Paul was just 14, and dad Jim.

This is not the first time Macca has delved into his early years for songwriting inspiration.

I talked to him about the playful On My Way To Work, which appeared on his 2013 album, New.

He called it a “collection of memories all morphed together”, providing a fascinating glimpse into his life before Beatlemania.

“It’s about me going to my first job, before The Beatles took off, which was working on a lorry for a delivery company called Speedy Prompt Deliveries — SPD.”

McCartney described going to work on the council-run green and cream buses which led to him looking at risqué magazines like Parade.

“I’d go on the bus at some unearthly hour of the morning,” he said. “I might buy a magazine and look at the nudies. I was too young to be interested in the news!”

He remembered how hard-up kids like him ripped the fronts off cigarette packets and traded duplicates with their mates, instead of collecting “football cards or, like in America, baseball cards”.

“It was like, ‘I’ll swap you two Craven A for a Woodbine’. Then there were the posh brands because this bus route went from the centre of Liverpool to the outskirts.

“Posh people would be smoking Passing Clouds or Sobranies and packets of those were very prized.”

Another song, Queenie Eye, referenced a childhood street game from “1940s Britain”.

“It’s what we used to get up to before video games and that whole home entertainment thing,” he said.

“Someone would be elected to be ‘the one’ or the ‘queenie eye’. We’d all stand behind that person and he would throw a ball over his head and one of us would catch it and hide.

“Then we would all chant, ‘Queenie eye, queenie eye, who’s got the ball? I haven’t got it. It isn’t in my pocket!’ It was simple entertainment for simple minds but great fun.”

Now it is time to return to the 2020s and the creation of The Boys Of Dungeon Lane, the follow-up to his captivating lockdown album, McCartney III.

This time, we’re told we can expect “Wings-style rock, Beatles- style harmonies and McCartney-style grooves”.

The process began around five years ago when Macca met American live-wire producer Andrew Watt, known for his work with Ozzy Osbourne, Lady Gaga, Post Malone and The Beatles’ greatest Sixties chart rivals, the Rolling Stones.

Watt, I gather, “pulled a guitar” on his latest rock icon, who instantly happened upon a chord he didn’t recognise.

As the story goes, the ever- experimental McCartney changed one note, then another, until he had a three-chord sequence.

That led to his new record’s opening track, As You Lie There, which in turn set the ball rolling for the other 13 songs.

It’s remarkable that, as with McCartney III, he is credited with playing all the instruments himself across the whole thing.

It brings to mind how at ease this enduring music obsessive seemed as he suggested specific drum beats and fills to Ringo Starr in The Beatles’ Get Back documentary.

With Macca still touring and playing momentous shows like his 2022 Glastonbury epic, Days We Left Behind has been honed over half a decade when time permitted.

During that period, he even managed to introduce the Stones to producer Watt, who helmed their 2023 comeback album, Hackney Diamonds.

When McCartney was in Los Angeles working with Watt, he was brought in to play bass on Mick Jagger and Co’s punk blast, Bite My Head Off.

Upon its release, I spoke to Keith Richards who was made up over their special guest.

“Yeah, Macca just strolled in with his bass,” the guitar legend drawled. “I think the song reminded him of those times [in the Sixties]. Beatlemania was equally as bizarre as Stones mania.”

There’s a moment towards the end of Bite My Head Off where you can hear someone saying, “Come on Paul, play something”.

“That might have been me,” smiled Richards.

But this is all about Britain’s greatest living songwriter, Paul McCartney, and his new album The Boys Of Dungeon Lane.

Time is precious but when it comes to music and life, he’s still facing forward at 83 — even if he’s remembering a youth long ago when “in the skies, the skylarks rise”.

COUNTRY music heartthrob Riley Green furiously kicked a “jealous boyfriend” out of his gig after being hit with a phone that left him with a bloody ear.

Riley needed five stitches to piece his ear back together following the Melbourne show on his Cowboy As It Gets tour.

During the gig, he was struck by a phone pelted from the pit which caused him to stop the performance and take off his guitar.

He then pointed out the offender and directed security to haul him out. Smiling with blood running down his neck, Riley then slung his guitar back on before being cheered by the raucous crowd.

The 37-year-old told them: “Damn, am I bleeding? See how tough I am?”

He then said: “You can get your phones out, and you can turn the flashlight on – but don’t throw them at me.”

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The violent incident certainly did no harm to Riley’s aura. His smitten fans sent messages of support on Instagram.

One said: “My babyyyyyy was bleeding.”

Another wrote: “Brother, don’t hurt my wife’s boyfriend!”

A third said: “He was bleeding but he’s a Bama boy…that’s just a little scratch. He can do anything he wants!”

While on one video, a fan wrote: “PSA to the jealous boyfriends., don’t throw your phones at Riley Green xx.”

Riley had a fun time despite the incident and regretted not being able to play for longer.

He wrote on Instagram: “Ole buddy ’bout ran outta anytime minutes last night… but a hell of a time was had.”

Riley’s become a global phenomenon in recent years.

Heartfelt songs like I Wish Grandpas Never Died, There Was This Girl, and Different ‘Round Here (feat. Luke Combs) have resonated thanks to their honest storytelling and southern drawl.

He supported Morgan Wallen at his BST Hyde Park gig in 2024 but put on a headline-worthy show.

Speaking about his summer in the capital, he told Entertainment Focus: “I wasn’t nervous but I certainly didn’t expect what happened! I thought that there would be, maybe, a handful of folks that knew a couple of my songs but they knew every word to every song.

“To see the size of the crowd……. especially when you go to another country and Canada had been the only other time I had played outside the States….. things are usually gradual in building up a fan base, right? It was shocking to see how passionate people were about country music over here.”

And he returned to these shores last year for some sold out gigs of his own.

DOLLY Parton has issued a major announcement about Dollywood after taking time off for a health crisis.

She opened the amusement park, which is located in her native Tennessee, back in 1986 and it hosts nearly three million guests each year.

Now it’s been revealed that Dollywood is officially open for the new 2026 season.

She shared the exciting news on her Instagram feed with a throwback picture of herself standing at her theme park.

The 80-year-old penned: “I look just like the girls next door… if you happen to live next door to an amusement park.

“@dollywood is officially open for the 2026 season!”

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Fans flocked to the comments section to share their excitement as one said: “Yayy I love Dollywood!!”

Another person commented: “The girl next door who owns an amusement park. Because Dolly showed us, girls can do anything.”

Somebody else enthused: “Can’t wait to go back!!”

Yet another expressed: “The Queen of Tennessee, beautiful Dolly.”

While a fifth added: “Going in August – taking a family vacation and Dollywood is definitely on the itinerary.

This comes after Dolly sparked health concerns last fall when she canceled several performances.

At the beginning of fall in 2025, the Tennessee native announced she was forced to postpone her Las Vegas residency after dealing with a number of “health challenges.”

Dolly’s shows were scheduled for six dates in early December at The Colosseum at Caesars Palace.

Tim McGraw subsequently took her place and the rescheduled shows have been set for September 2026.

In her message to fans, Dolly explained that she couldn’t perform due to doctor’s orders and had to undergo “a few procedures.”

“He is telling me to slow down right now so I can be ready for more big adventures with all of you.

“I love you and thank you for understanding.”

She assured fans that she would be back on stage soon, writing, “And don’t worry about me quittin’ the business because God hasn’t said anything about stopping yet.

After taking some time off, she returned last month as she told her fans some exciting news.

Looking incredible while sitting in a colorful room, Dolly delivered the news that East Tennessee Children’s Hospital was officially becoming Dolly Parton Children’s Hospital.

In the video, she explained how she believed every child should grow up healthy and with a fair chance.

She then revealed the hospital’s name change before saying, “I can’t do it all myself,” and asking for people to get involved via her website.

Meanwhile, the caption of the video read: “A new chapter begins.

“East Tennessee Children’s Hospital is proud to share we are becoming Dolly Parton Children’s Hospital.

“Inspired by Dolly’s commitment to children, this transformation represents more than a name change, it’s a promise. A promise to bring hope, healing and world-class care to patients and families across our region.

“Together, we’re building a future where every child has the chance to grow, thrive and feel the comfort of compassionate care.

“The same dedicated team. The same trusted care. Now carrying a name that reflects the heart of our mission. Learn more at DollyChildrens.org.”