music

A visit to the Fox and Pheasant pub in Fulham left us with a £106 bill for one starter, two mains and five pints – but despite the premium prices, the food was delicious

“They named a ski ride after me in Verbier and turned a phone box into a museum for me in Herefordshire. Your turn.”

That was James Blunt’s witty response to one of the countless mocking tweets and messages the 51-year-old receives weekly, this particular one questioning, ‘What have you ever achieved?’

Since burrowing into the consciousness of every British person with 2005’s hit ‘You’re Beautiful’, the self-described ‘one hit wonder’ has built a thriving reputation for mocking himself. And also, I learned earlier this month in the hospitality trade.

Mr Blunt is among numerous high-profile figures who’ve diversified from their primary profession to venture into the pub industry (my colleague Steffan Rhys recently enjoyed a fantastic afternoon in one of Wales’ rugby icons’ establishments). On the surface, investing in pubs isn’t an entirely logical decision.

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In reality, it’s a dreadful period to be running a pub.

The British Beer and Pub Association calculates that 378 establishments closed in 2025, potentially affecting 5,600 jobs. Before Rachel Reeves reversed her decision on slashing business rate relief for pubs, many faced a 76% increase over the coming three years.

Her reversal has been praised by landlords, though the scope of the tax break remains unclear. As does the outlook for an industry battered from multiple directions, including falling alcohol consumption rates.

Whilst I can’t claim to know the inner workings of the Fox and Pheasant’s balance sheet, I’m reasonably certain this boozer is thriving. On a particularly grim January weekend, right in the heart of dry January, the Fulham establishment was absolutely rammed.

I’d managed to secure the weekend’s final available table on Thursday, with the binding agreement to order at least two mains and cough up £20 if I failed to turn up.

The table itself was squeezed into the corner beside the waiting station, offering far superior views of my fellow punters and the condiment station than it did elbow room. By my rough calculations, the Fox and Pheasant seats around 40 diners.

If everyone spent what we did, then it’s clearly a shrewd investment from Mr Blunt.

My mate and I stumped up £106 for one starter, two mains, and five pints. Perhaps this ought to be anticipated when eating out in one of Britain’s priciest postcodes.

As a visitor to these exclusive parts, the sting of the bill proved difficult to shake off.

“I think £40 less than that feels about fair,” my friend concluded, having clocked up years working in upmarket restaurants throughout central London.

That’s not to suggest the Fox and Pheasant isn’t a cracking pub. That’s beyond question.

The layout proves particularly clever. Stepping in from the gated, private street that Mr Blunt has inhabited for more than 15 years, visitors are greeted by a tastefully presented facade complete with expertly refurbished signage, hanging flower baskets, and emerald wall tiles.

The front portion of the premises houses the double-sided bar and drinking space. It’s a vibrant, intimate spot to take refuge on a bitter winter’s night, especially if you manage to snag a seat beside the crackling fire.

Most of the dining takes place in a spacious room towards the rear – a shrewd decision that maintains the traditional pub atmosphere at the front. The dining space is bright and attractive, topped with a conservatory-style roof and climbing foliage adorning the walls.

Mindful of costs, we opted to share a starter of celeriac tartare accompanied by tomato relish, hazelnut cream, and horseradish. “Is it just me or does this taste like they’ve dunked celeriac bits in a tin of baked beans?” queried my companion, a seasoned baked bean connoisseur.

The main course delivered considerably more impact. I chose a Roquefort and walnut salad with chips, whilst my friend selected a chicken, chorizo, and mushroom pie served with creamed leeks, alongside an impeccable Mr Whippy-style swirl of mashed potatoes.

Ordering a pie from a pub is, as we all know, a risky business. Too often, I’ve found myself delving into the crust only to discover it’s merely a lid.

While I sympathise with the hard-pressed publican, a bit more pastry isn’t going to break the bank. Mr Blunt’s team didn’t skimp on the pastry, but the pie’s lack of depth was truly startling.

At its deepest, it measured a mere 6cm.

That said, the flavours were delightful, the service swift and the atmosphere in the restaurant was pleasant. There’s something rather appealing about dining amongst towering finance men and impeccably attired women.

However, while achieving such stature might require protein-rich meals, the limited vegetarian options beyond salads were somewhat disappointing.

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The absence of the pub’s owner was also a letdown. Online rumours suggest that Mr Blunt frequents the pub and, according to public opinion, he has done well managing the Fox and Pheasant since rescuing it from conversion into flats in 2018.

The only nod to the 23 million album-selling singer was found in the cocktail menu. Had my Reach PLC expense allowance not already been depleted, I would have discovered if the ‘You’re Beautiful’ cocktail is as successful as its namesake.

The Fox and Pheasant is nice but, all things considered, my verdict is simple: too expensive.

Got a travel tale to tell? Email webtravel@reachplc.com

A MUSIC star has shared the tragic news that his son has died following a fatal motorbike crash.

Eighties star Paul Hardcastle announced his 35-year-old son’s death through a heartbreaking Instagram post on Monday night, January 12.

Over an old picture of his son, Paul Hardcastle Jnr, the composer and record producer wrote: “Just to let you know that my super talented son Paul Hardcastle Jnr was in a fatal motorcycle accident earlier and has sadly died. RIP son love Dad.”

Paul Jnr followed in his dad’s footsteps and also became a successful musician, playing the saxophone and DJing.

He features on his father’s 2008 album Hardcastle 5, appearing on the final track, Take 1 and worked on the 2022 release, Hardcastle X.

Paul Senior, 68, is most well known for his 1985 number one hit about soldiers in the Vietnam War, 19.

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The song was so successful it became number one in 13 countries and every time he stepped out of the house someone would hum its eponymous chorus “N-n-n-n-nineteen, nineteen.”

His career has spanned decades and genres, Paul Snr is a prolific electronic producer, keyboardist and composer who has enjoyed popularity with dance, R&B, and jazz-influenced albums since the eighties.

Paul Jnr’s 2010 debut single, Touch and Go, produced by his father, reached number one in the USA Billboard Jazz Chart.

His website describes him as “a billboard chart-topping and Grammy-nominated saxophonist who has enjoyed a successful career across music. “

The saxophonist has performed in places such as Dubai, The Maldives, The Seychelles, Monaco, Spain, Italy, Greece & many more.

At just 16, Paul began performing his first professional shows in London as a saxophonist for celebrity parties, corporate launches, super-clubs, nightclubs, functions & bars all over the U.K.

Followers have flooded the comments of his dad’s post announcing the heartbreaking news with tributes to his fellow talented son.

Former TOWIE star James Argent shared his condolences.

“I’m so sorry mate, thinking of you all. Heartbreaking.” the reality star wrote with a broken heart emoji at the end.

Presenter Hayley Palmer said: “Paul, I don’t even have the words – I am so so sorry to hear this. Heartbreaking. Am thinking of you Paul xx”

Mexican alternative band Café Tacvba is petitioning two of the largest music labels to take its catalog off of Spotify.

On Wednesday, the group’s singer Rubén Albarrán made an Instagram post calling on its former labels Universal Music Mexico and Warner Music Mexico to take action.

“I delivered letters to the record labels WMM and UMM, which by contract have the exploitation rights of Café Tacvba’s catalog, asking them to remove our music from the platform Stupidfy [sic] because it contradicts our artistic vision and our personal and band ethics,” Albarrán said.

He also claimed that the streaming giant invests in weapons manufacturing, runs ads for ICE and uses artificial intelligence in a way that is detrimental to musicians.

Spotify CEO Daniel Ek leads an investment group that gave $694 million to the European defense technology startup Helsing in June.

“I personally invite our followers to listen to our music on other platforms, or better yet boycott it, and don’t take part in the abuses of power, ongoing wars, violence.” Albarrán added. “It is time to create a new world, more just — where music still has value, meaning, accompanies people, giving them support, joy, hope.”

Spotify responded to Albarrán’s post in a statement to The Times.

“We respect the artistic legacy of Café Tacvba and Rubén Albarrán’s right to express his views, but the facts tell a different story,” a Spotify spokesperson wrote. “Spotify does not fund war. Helsing is a separate company that has been supplying defense tech to Ukraine. Furthermore, there are currently no ICE ads running on Spotify; the advertisements mentioned were part of a U.S. government recruitment campaign that ran across all major media and platforms. We are a platform for music, and our AI policy is focused on protecting human artists from clones and fraud.”

In November, Rolling Stone reported that Spotify received $74,000 from the Department of Homeland Security to air ICE ads, according to information acquired from several data services.

According to Variety, the music streamer stopped airing ICE ads at the end of 2025. News of Spotify’s terminated contract came after Renee Nicole Good was killed by a federal immigration agent during an operation Wednesday in Minneapolis.

Spotify’s statement to The Times also claimed that the platform pays artists more equitably than other streamers, saying, “We are proud that Café Tacvba’s music has generated millions of dollars on Spotify over the years, and the reality is that Spotify continues to pay out more money to more artists than any player in music history. We consistently pay out 70% of our revenue to rightsholders.”

According to Spotify’s artist website, platformed artists must contact their label or distributor and ask them to issue a takedown request.

Universal Music Mexico and Warner Music Mexico did not immediately respond to The Times’ request for comment.

Café Tacvba broke out onto the Latin rock scene with their second album,“Re,” a 20-song release from 1994. With smart, biting lyrics that touched on love, loss, hate, politics and modernism, the LP was hailed by the New York Times as “the equivalent of the Beatles’ White Album for the Rock en Español movement.” The L.A. Times’ critic Josh Kun dubbed it a “landmark.” And Rolling Stone put “Re” at the top of its “Top 10 Greatest Latin Rock Albums of All Time.”

The group saw even further international recognition with its 2003 megahit “Eres,” which received award recognition at the fifth annual Latin Grammys and has also accumulated over a half-billion streams on Spotify.

L.A. has a long, storied history of hotels with deep musical connections. From the Hyatt House (now the Andaz) on Sunset Boulevard, known as the infamous “Riot House” as remembered in Cameron Crowe’s Oscar-winning “Almost Famous,” to Chateau Marmont and the iconic Sunset Marquis, both famed homes to touring rock stars for decades. But few, if any, have ever been as ambitious musically as West Hollywood’s Sun Rose Hotel.

Opening as the Pendry Hotel in 2021 on the location of the former House of Blues, the Sunset Boulevard property established its music credentials immediately by including Live at the Sun Rose, a state-of-the-art music venue inside the hotel. Four years later, last August, the Pendry was rebranded as the Sun Rose Hotel and the entire hotel became a sort of musical destination according to Grammy-winning musician/creative director Adam Blackstone.

Inside the lobby at the Sun Rose West Hollywood

(The Sun Rose West Hollywood)

“We have the atrium, the downstairs foyer, we have a bowling alley. There are so many things we can offer to the music space that other venues can’t. We’re going to use the entire rooftop, sometimes maybe play on top of the pool. Things like that are going to be an attraction to people that allow us to do some very incredible things,” Blackstone says. As Grammy season approaches, Blackstone says the hotel/venue will be offering full shows and events that you don’t have to leave the property for and will include more one-of-a-kind performances. “People can come play a 90-minute set that is not what they did the night before. Whoever is in that room gets a once-in-a-lifetime experience.”

Blackstone, who has played with everyone from Rihanna, Janet Jackson and Demi Lovato to Eminem, Dr. Dre and Al Green, prides himself on bringing the same diversity and surprise to the Sun Rose. “That’s how my legacy shows have been going — you never know who’s going to pop up, but you don’t want to miss it.”

To back up his claim, he cites bringing in surprise guests like John Legend, multiple times, Stevie Wonder, Justin Timberlake and more, as well as Dre for a live Q&A. That is only the beginning of his ambitious plans to make the Sun Rose a treasure trove of unexpected musical moments. “I am so excited about this partnership with Sun Rose. I think we have the power to be expansive in a way bigger role than anything in L.A. It’s not a jazz spot, a country spot or a gospel spot — we can do whatever there. We could have a DJ with a salsa band; I’ve had a Q&A with Dr. Dre and Marsha Ambrosius. That’s one of the highlights, and attractions the Sun Rose brings to L.A. for me, any time you walk in there, if you don’t know what you’re going for, you’re going to be in for an experience,” he says.

As for what some of those experiences might be, Blackstone references his wide range of gigs, like a recent one working with Andrea Bocelli at the Vatican, as an example of how creative he can get. “All of these things that are in my mind I’m going to do for other people, I’m going to be able to do at my spot,” he says. “And it won’t be weird coming from me because that is who I am, that is who I embody in music, that is who I’ve been able to work with. I’m thankful the Sun Rose is welcoming that with the mindset I have to be as creative and expansive as possible.”

Bowie’s Piano Man, Mike Garson, at Live at The Sun Rose

(Michelle Shiers/The Sun Rose West Hollywood)

To their credit, the Sun Rose is embracing that kind of artistic expression. It starts with Sharyn Goldyn, who books the music at the venue. She set the tone early by making pianist Mike Garson, best known for his work with David Bowie, but well versed in jazz and classical, the first artist she spoke to. She says he is exactly the type of artist she wanted to build the venue on.

“I knew I wanted to have a backbone of the best musicians in the world, and of legacy artists. So, Mike was the first person I met with, and he was just so open to ideas and building something,” she says.

Garson, the venue’s artist in residence, loves the core of him, Blackstone and Goldyn, as well as not being on the road all year.

“Adam is a wonderful musical director, and we bring what we bring. I was flattered that I was the original person Sharyn came to. But I had done so much touring with Bowie alumni after he passed, I somewhat got burnt out on it. I’m 80, so it’s nice to be home in 20 minutes. I do 30 or 40 shows a year and I do 10 at the Sun Rose and there’s nothing being compromised about my music,” he says. “I do whatever I want at the Sun Rose because I open up most of the sets with a jazz piece because that is my roots, then we move into the vocals. The vocals become duets like I did with David and not just me accompanying some song. I look for, ‘What can I add to “Space Oddity’” today?’ I stretch the limits, which is what David would have wanted me to do. He never believed in the comfort zone.”

Bowie will be celebrated in a special three-night residency this Thursday, which is his birthday, Friday and Saturday, the 10-year anniversary of his passing. Just as Blackstone does, Garson will be bringing in a number of friends. “This club’s really special because we work it with great singers. I’ve had Judith Hill there, I’ve had Luke Spiller, Evan Rachel Wood and now of course for David’s birthday and the 10-year celebration, we have a lot of great people,” he says. “We’ll have Billy Corgan [on] Saturday night and Andra Day on Friday and Judith Hill and Luke Spiller’s coming again, and a lovely singer named Debby Holiday. I’ll have Chad Smith stop in on Saturday night to play some drums from the Red Hot Chili Peppers. And I’m going to do a lot of the Bowie hits and a few obscure ones.”

Garson will be traveling to Dublin in February and celebrating his near 50-year friendship and musical relationship with Bowie. But he is choosing to spend Bowie’s birthday at the Sun Rose. It is not only the proximity to his home that appeals to Garson. “I’ve been the resident artist there for three years and I’ve done 46 shows there. I like the intimacy, I like the piano in the center stage of the room and I love working with Sharyn. After playing the Hollywood Bowl and Madison Square Garden with Bowie and Duran Duran, whatever, Nine Inch Nails, Smashing Pumpkins, I like the small clubs now,” he says.

Similar to Vegas hotels that book the biggest music superstars, like Adele or Rod Stewart, for extended residencies, the Sun Rose will make the Bowie experience a weekend retreat in the whole hotel.

“We’re able to bring the Bowie experience to other things, such as Bowie cocktails named after different songs and maybe changing our menu and maybe changing the suite names of the hotels. This celebration, particularly, we’re doing a hotel package. Because Mike only plays these particular shows at the Sun Rose, a lot of people fly in for it,” Goldyn says.

Rooftop pool at the Sun Rose in West Hollywood

(The Sun Rose West Hollywood)

Fans can expect that more as the hotel takes on the identity of the club. “Now that the hotel has taken on the name of the music venue, they really want the music venue to be a focus and something that the hotel is really proud of and highlighting. We’re going to really try and push a full property experience so you can get tickets to the show, stay at the hotel and never really leave the property,” she says.

Blackstone believes the success of the music club, under his artistic guidance, is what ultimately inspired the hotel’s name change. “I think what prompted the name change of the hotel was just seeing how the music space has impacted the hotel space in a great way. So, if we can continue the music experience going throughout the whole hotel, what better way to do that than have me curate not just the music room, but curate the entire hotel space?” he says.

After so many years on the road with other artists, Blackstone is thrilled to have what he calls his “playground.” “It feels so incredible; I’m able to try out some new ideas. One of the first things I want to do is to use the rooftop or bowling alley to do an all-day showcase of new music, new styles and new genres in different areas of the hotel. We’re going to start that, I’m going to curate that, get some incredible artists that always end up being your new favorite artist once you hear them,” he says. “I think that’s the other component I failed to mention: My reach has been able to permeate the entire globe. Now I can bring that reach directly to the Sun Rose.”

Singer-songwriters Lisa Simmons-Santa Cruz and her husband Francisco Carroll Santa Cruz were going through a challenging time last March when they worked on Snoop Dogg’s 2025 gospel album, “Altar Call.”

“We were actually writing all those songs in a hotel, displaced,” Carroll Santa Cruz said.

The couple, who have worked in the entertainment industry for more than 29 years writing and producing music for artists like Kelly Rowland and television shows such as “Desperate Housewives,” had lost their Altadena home in the Eaton fire a few months earlier.

Still, the platinum singer-songwriters didn’t want to pass up the opportunity, which came up during the final week of their hotel stay when Simmons-Santa Cruz and Carroll Santa Cruz were introduced to Snoop Dogg through artists Charlie Bereal and Point 5ve. Although Snoop Dogg had also set up a donation center for fire victims, the couple chose not to share their own displacement with him or anyone else in the music industry.

“We needed something the fire couldn’t burn and that was our music,” Simmons-Santa Cruz said. “At that time, we needed something separate from the fire — something that the fire couldn’t touch, it was too traumatic to keep revisiting what we’d lost, so our work became our peace and our escape.”

Despite the loss of their home studio and the limitations of working from a hotel room, they successfully completed the project in a short amount of time. Simmons-Santa Cruz later described the experience as “divine intervention in the midst of tragedy,” saying the music gave them space to heal through faith while doing what they loved most.

“It was comforting, we didn’t have to focus on the fire or what was lost, the music gave us a moment to reflect on life, and it became a saving grace,” she said.

The couple had originally resided in the Altadena home with Simmons-Santa Cruz’s 77-year-old mother, who first bought the house in 1974. In the aftermath of the fires, the couple was forced to figure out where they were going to live as they also grappled with the immense paperwork, bills and insurance claims that came with the loss of their home.

MusiCares, a health and welfare charity for musicians founded by the Recording Academy in 1989, offered them assistance.

“They were like, the FEMA of the music industry,” Simmons-Santa Cruz said.

According to Theresa Wolters, executive director of MusiCares, the organization supports the music community through direct financial assistance for basic living, medical, mental health and substance use needs, as well as free preventive healthcare. One year after the Los Angeles wildfires, MusiCares has directed more than $15 million toward relief and recovery, reaching over 3,200 music professionals affected by the disaster.

When MusiCares stepped in to provide emergency funds for Simmons-Santa Cruz and her husband, it also offered to replace an important instrument for her. Her father, who died seven years ago, helped her pick her first guitar, but the guitar was left behind when the fire broke out.

“That guitar was very sentimental for me,” she said.

Nothing can ever replace the personal memory tied to the guitar, but Simmons-Santa Cruz says that MusiCares offered her hope through this deed, and the new guitar represents that.

“I just broke down, I just started crying, because I’m like, who replaces a guitar? … The last thing that was on my mind was replacing our equipment because we’re still in survival mode,” she said.

Drummer Darryl “JMD” Moore” getting fitted for custom ear molds for his live performances at MusiCares Altadena Health and Wellness Clinic at Grammy Museum L.A. Live

(Rebecca Sapp/Getty Images for The Recording Academy)

The couple is living in a rental and continuing to deal with the fallout of the fires, still unable to rebuild their house because of the financial costs. Since the fires, many other music professionals have faced similar hardships, like music producer and drummer Darryl “JMD” Moore, who still has to pay the mortgage on the home he lost while rebuilding another one “like for like” as mandated by the mortgage bank.

“I wanted to build a home for my children, and my grandchildren, my descendants, that would serve them financially and in every other way it could, because I know this property is valuable, my house doubled in value, it was worth twice what I paid for,” Moore said. “But our insurance is not paying us enough money to build the same house, it’s like hundreds of thousands of dollars short, so everybody like us, we’re in a scramble to get the money to fill in the gaps.”

After years of renting in Altadena, Moore finally bought his first home there in 2011, a purchase made possible thanks to his success in the music industry. Moore is known in both the jazz and hip-hop music scenes, having produced acts like the Pharcyde and Freestyle Fellowship while also drumming for jazz greats like Horace Tapscott. Moore originally grew up in South L.A., where he started playing drums at 13, focusing on R&B and funk before eventually being mentored by the renowned jazz saxophonist and singer Elvira “Vi” Redd.

When the Eaton fire began to crawl toward Moore’s house, he said he quickly packed his most important possessions. He took an archival hard drive which contained his music from 2004 to the present, but everything else burned: his recording studio, archival tapes and reels, and his favorite drum set, a vintage 1965 Rogers Holiday kit he bought in the ‘80s.

“I played on albums and records with that Rogers kit, when I moved to New York in ’89, I took that Rogers kit with me, and I pushed that kit down the street every night from the East Village to the West Village to work,” Moore said. “I can get one that looks just like it if I was willing to spend the $4,000, but was it in the back of the subway, did I play it on Bleecker Street?” the jazz drummer said.

Immediately after the fire took his home, Moore needed to work, but he no longer possessed the peripherals and equipment he required to record. MusiCares donated thousands of dollars’ worth of equipment he needed, including a drum set, and it also provided grants to help him pay both his mortgage and the rent where he’s currently staying. Moore has a long way to go before he completely recovers financially, but he says the organization made a significant impact in his life this past year, and he’s grateful.

“My studio’s back online, I’m able to practice, I’m able to work and do some gigs … it gave me my voice back, really, that was the beginning of everything,” the hip-hop producer said.

For Gwendolyn Sanford and Brandon Jay, a married couple raising a 16-year-old and a 9-year-old, the emotional weight has been just as significant as the financial burden that followed. The couple said they’ve been proactive in prioritizing the mental well-being and happiness of their children since losing their Altadena home.

“It was harder for them early on, when we were moving so frequently, we didn’t have any control over it, we were just trying to get somewhere stable to be, and I think they were processing the loss when they were sad that we didn’t have our home,” Sanford said.

Sanford and her husband are singer-songwriters and have scored music for television shows like “Weeds” and “Orange Is the New Black.” The couple is also in a children’s music band called Gwendolyn and the Good Time Gang, and they recently composed music for the off-Broadway show “Romy and Michele the Musical.”

Like many others, the couple lost their personal recording studio, making work difficult. The stress has been immense for the couple, but they said MusiCares was able to ease some of the financial burden when the organization offered them grants to cover their mortgage, which they are still on the hook for.

Darryl “JMD” Moore in front of his home that burned down in the wildfires, taken in 2023.

(Darryl “JMD” Moore)

“There’s all the red tape and hurdles and things we have to do just to rebuild our home, so that in itself is like a full-time job that we never wanted, on top of just our regular lives raising our kids and doing work,” Jay said. “So, to have the support of someone like that and have them say you don’t have to worry about this one aspect for a while, is invaluable.”

Recently, Sanford was asked to perform at a groundbreaking ceremony her former Altadena neighbor was having for a new house being built there. Sanford’s daughter had not wanted to go back to the neighborhood, but she decided to accompany her mother anyway. The return was cathartic.

“She was able to walk around our lot and have a private moment, and I asked her how she felt, and she said, ‘I feel safe here, this is my home,’” Sanford said.

At the event, Sanford sang a song she penned in 2011 called, “Acorn,” which was inspired by the grandeur of oak trees and what they symbolize in nature. The song has taken on a different meaning for her in the wake of the fires.

“The acorn is a metaphor, and I think that’s kind of where we all are right now, we have to start over, we have to start small, and eventually we’ll get back to where we were,” Sanford said.

In a new partnership with chipmaker Nvidia, Universal Music Group plans to introduce what it calls “responsible AI” that could change music discovery and creation.

The companies will begin research on how to advance human music creation and compensation for rights holders in the age of AI, as revealed in the deal announced Tuesday. With this technology, the new partners say they hope to leverage AI-powered tools to aid and protect artists’ work, instead of using hands-off generative AI.

“We look forward to working closely with NVIDIA to direct AI’s unprecedented transformational potential towards the service of artists and their fans as we work together to set new standards for innovation within the industry, while protecting and respecting copyright and human creativity,” said Sir Lucian Grainge, Universal Music Group’s chief executive, in a press release.

Universal Music Group will use Nvidia’s Music Flamingo program, a large audio-language model designed to understand music in-depth. It was launched in November and can understand musical elements like structure, harmony, instrumentation and lyrics. The program can process songs up to 15 minutes long and will also be able to capture the historical and cultural context, as well as various emotional arcs.

With the program’s ability to process songs thoroughly, Universal Music Group aims to use this tool to help connect artists and fans. Instead of relying on typical genres or tags, Music Flamingo allows listeners to discover new music in a more automated fashion.

There are also plans for Nvidia and Universal Music Group to begin developing an incubator in which artists, songwriters and producers will help design and experiment with new AI tools. The company said it hopes this process will help AI tools fit into creative processes with greater ease.

Universal Music Group, with its corporate headquarters in the Netherlands and another office in Santa Monica, was founded in 1996. The music giant behind artists like Taylor Swift and Billie Eilish is valued at roughly $40 billion on the U.S. stock market, with shares selling around $25.35 each. The deal with Nvidia follows several other AI agreements that Universal has inked with companies like Klay and Stability AI.

Nvidia was founded in 1993, with the original goal of bringing 3D graphics to video games and multimedia projects. As the tech industry has continued to evolve, Nvidia has emerged as the leader in computer chips designed to power AI tools and applications.

“By extending NVIDIA’s Music Flamingo with UMG’s unmatched catalog and creative ecosystem, we’re going to change how fans discover, understand, and engage with music on a global scale,” said Richard Kerris, the general manager for media and entertainment at Nvidia, in a statement.

“And we’ll do it the right way: responsibly, with safeguards that protect artists’ work, ensure attribution, and respect copyright.”

Universal Music Group is investing $80 million for a stake in one of India’s biggest Bollywood production companies, Excel Entertainment Pvt.

Universal Music India, a division of Universal Music Group, will acquire a 30% equity interest in the Mumbai-based movie studio. In the deal, announced Monday, the companies will work together on forthcoming films, series, music and emerging formats.

While getting involved in India’s local film industry, Universal Music will also now receive global distribution rights for all future original soundtracks attached to projects produced or owned by Excel. There are also future plans for the companies to launch an Excel-linked music label that will allow UMG and Universal Music India artists to appear in various Excel titles.

The investment underscores the rapid growth in the Indian entertainment industry.

India is the 15th-largest recorded-music market globally.

Founded by producers Ritesh Sidhwani and Farhan Akhtar in 1999, Excel is responsible for making over 40 different films and scripted shows. Its most popular titles include “Dil Chahta Hai,” “Don” and “Talaash.” The company is currently valued at approximately $290 million.

“India’s entertainment landscape continues to grow from strength to strength, and this is the perfect moment to build meaningful global collaborations,” said Sidhwani and Akhtar in a joint statement. “Together, we aim to take culturally rooted stories to the world.”

Universal Music Group, with its corporate headquarters in the Netherlands and another office in Santa Monica, was founded in 1996. The music giant behind artists like Taylor Swift and Billie Eilish is valued at roughly $48 billion on the U.S. stock market, with shares selling around $25.80.

IBIZA Final Boss Jack Kay is a millionaire after he became a sudden viral international superstar and he is now planning his own festival.

The former Newcastle construction worker became an internet sensation after footage of him dancing on the party island, sporting a chunky gold chain, designer sunglasses, a black vest, and his distinctive, sharp bowl haircut went viral.

Dad-of-one Jack later came forward to tell the world: “I am the Ibiza Final Boss. Jack Kay. Get to know.”

Jack missed out on trademarking his brand Ibiza Final Boss after someone grabbed the name while he was raking in the cash last summer.

But he revealed how he’d earned £800,000 in just six weeks after the footage went global and since then, he’s added another £200,000 to his ever-expanding bank balance.

He confessed in a hastily made documentary about his rise to fame just how much cash he’d made in the summer.

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Jack admitted: “I’m trying to keep myself on a level head with it because I’ve got a little daughter back home

“I had nothing growing up so to give her the life when she’s older, she can have anything she wants, is just unbelievable.”

In one scene, a friend asked him directly, “What’s the dough like?”, leading the star to hint at the substantial amount of money he had made in the six weeks since his viral moment.

He told his friend to “pick a number”, before revealing it’s a “little tidge more” than £800,000.

And since then he’s been enjoying the fruits of his celebrity.

Jack now drives a £55,000 Range Rover SVR with the private plate BOSS BZA after inking a string of money-spinning deals.

He secured a five-figure contract with fashion chain Boohoo Man.

Following his overnight fame, he went on a club appearance tour, returning to Ibiza by private jet and earning £60,000 a day.

He returned to Wayne Lineker’s O Beach Club, the venue where the original video was filmed, to wow fans.

Lionheart Entertainment, a Scottish nightclub events promotions firm booked Jack for a string of events in the UK, and he teamed up with London musician Carnao Beats and they released a techno tune on Spotify.

He also appeared on stage at rave festival Creamfields in Cheshire.

Jack also commands £2,000 a post plugging goods and services on Instagram.

He sells his own merchandise, with the person who recorded the original video also profiting from selling their own line of Ibiza Final Boss gear.

Jack has also appeared in various media, including the Channel 4 documentary that tracked his rise.

He has also cashed in with numerous freebies, including a yacht trip valued at over £10,000.

And he has just filed documents with the UK’s Intellectual Property Office to trademark the slogan Be Your Own under the “presentation of music concerts; music festival services”.

The application also gives him the scope to open his nightclub and to use the name exclusively as a recording artist, DJ, and producer.

His papers were filed just days ago and will stay in place for 10 years once passed to protect Jack from bootleggers who have already begun to prey on his name.

The Masked Singer UK fans believe they’ve worked out the identity of Gargoyle

The seventh season of The Masked Singer UK premiered on ITV on Saturday (January 3), with fans trying to work out the identities behind the first group of characters.

The debut episode saw performances from Sloth, Can of Worms, Gargoyle, Disc Jockey and Moth. At the end of the night, Disc Jockey and Gargoyle found themselves in the bottom two after receiving the least amount of votes from the audience.

The judges – Davina McCall, Jonathan Ross, Mo Gilligan and Maya Jama – chose to save Gargoyle, meaning that Disc Jockey became the first star to be eliminated, with The One Show host Alex Jones soon being unmasked.

Now, several viewers believe they know the famous face behind Gargoyle, with Sheakspears Sister singer Marcella Detroit being named.

“My guess for Gargoyle. Marcella Detroit from Shakespears Sister. The voice fits, as she’s known for her high-pitched vocals,” one person wrote on Reddit.

“She put a photo of Sally Webster face down on a table, and Marcella co-wrote the song Lay Down Sally with Eric Clapton. She also worked on his 1976 album No Reason To Cry (Sally and 1976 being clues).

“She talking about not being pigeon holed, which makes sense for Marcella because she was ‘pigeon holed’ as a backing singer for big stars before joining Siobhan Fahey in Shakespears Sister, with Siobhan even suggesting Marcella change her name to give herself a new lease of life and leave the backing singer life behind.”

The viewer continued: “She said things in the clue package that hinted that she really was American, or from another country, and just visiting the UK. Shakespears Sister’s biggest song Stay was released [on] January 13th 1992 – which is why January 13th was one of the major clues.”

Others seemed to agree with this logic, with someone responding: “Oooh, I think you might be onto something here,” with another adding: “This is a good guess ngl.”

On Saturday night, Gargoyle sang the Scissor Sisters’ 2004 hit Filthy/Gorgeous. The judges shared several guesses, including Chrissie Hynde, Helen Flanagan, Ruby Wax, Frankie Bridge and Mollie King.

The follow-up episode, which aired on Sunday (January 4), saw six new characters take to the stage, with performances from Arctic Fox, Conkers, Toastie, Tea Bag, Yak and Monkey Business.

Yak and Tea Bag received the fewest votes from the audience, with Tea Bag becoming the second character to be eliminated. Rapper Professor Green was soon revealed to be behind the mask.

“[The mask] didn’t make singing any easier, I’ll tell you that much… It was quite fun. It was nice being able to hide behind a mask and just be silly for once and just really, really go for it,” he told host Joel Dommett after his unmasking.

The Masked Singer is available to stream on ITVX

For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website

Chinese President Xi Jinping has invited South Korean President Lee Jae Myung to a state visit in Beijing, signalling China’s desire to reinforce relations with South Korea amid regional turbulence.

South Korea’s national security adviser, Wi Sung-lac, told reporters on Friday that Lee will meet Xi in Beijing on Monday before travelling to Shanghai to visit the historic site of South Korea’s provisional government during Japan’s 35-year colonial rule.

Wi said the leaders are expected to discuss “practical cooperation” in areas including supply-chain investment, tourism, and responses to transnational crime, according to Yonhap News Agency.

Lee is also expected to persuade China to take a “constructive” role in achieving “a breakthrough in resolving issues on the Korean Peninsula”, Wi added.

It will be the second meeting between Xi and Lee in just two months, in what analysts have described as an unusually short interval, reflecting Beijing’s interest in bolstering ties before the next meeting between the leaders of South Korea and Japan takes place.

Relations between China and Japan remain at a low point after Japanese Prime Minister Sanae Takaichi suggested in November that a hypothetical Chinese attack on Taiwan could provoke a military response from Tokyo.

On Friday, Wi reaffirmed South Korea’s position on Taiwan, saying the country does “respect the one China policy and act in accordance with that position”. The position acknowledges Beijing’s view that Taiwan remains part of its sovereign territory, while allowing for separate ties with the self-governing island.

Kang Jun-young, a professor of political economics at Hankuk University of Foreign Studies, said “China wants to emphasise South Korea’s importance slightly more than before.

“China appears to have strategically decided that it would be better to have [Lee] visit China before South Korea holds a summit with Japan again,” Kang told the Reuters news agency.

For its part, the Lee administration has stressed its goal of “restoring” ties with China, which remains South Korea’s largest trading partner. At the same time, it has said Lee’s approach of “practical diplomacy” aims to maintain strong ties with Japan and the United States, South Korea’s most important ally.

Under Lee’s predecessor, Yoon Suk Yeol, Seoul leaned closer to Washington and Tokyo and increased criticism of China’s stance on Taiwan.

Lee, in contrast, has said he will not take sides in the dispute between China and Japan, a position he maintains as tensions around the Taiwan Strait rise following Beijing’s recent large-scale military drills near Taiwan.

Security alliances, regional strategy

The two leaders may also address contentious issues such as efforts to modernise the South Korea-US alliance, which some see as a counterbalance to China’s dominance in the Asia Pacific region, according to Shin Beom-chul, a former South Korean vice defence minister and senior research fellow at the Sejong Institute.

Currently, roughly 28,500 US troops are stationed in South Korea to deter threats from North Korea. US officials have signalled plans to make those forces more flexible in responding to other regional challenges, including Taiwan and China’s growing military reach.

“Korea is not simply responding to threats on the peninsula,” General Xavier Brunson, commander of US Forces Korea, said at a forum on December 29. “Korea sits at the crossroads of broader regional dynamics that shape the balance of power across Northeast Asia.”

As China remains North Korea’s principal ally and economic lifeline, experts expect Lee to seek Beijing’s assistance in encouraging dialogue with Pyongyang.

North Korea dismissed Lee’s outreach last year, calling him a “hypocrite” and “confrontational maniac”.

China and North Korea have, in turn, continued closer coordination, with North Korean leader Kim Jong Un appearing alongside Xi at a major military parade in September.

Trade and culture

Lee’s visit is also expected to focus on cooperation in critical minerals, supply chains, and green industries, his office said.

Nearly half of South Korea’s rare earth minerals, which are essential for semiconductor production, come from China. The trading partner accounts for a third of Seoul’s annual chip exports, its largest market.

Last month, officials from both countries agreed to work towards stable rare earth supplies. The visit may also explore partnerships in AI and advanced technologies.

Huawei Technologies plans to launch its Ascend 950 AI chips in South Korea next year, providing an alternative to US-based Nvidia for Korean firms, Huawei’s South Korea CEO, Balian Wang, said at a news conference last month.

Another potential topic is Beijing’s effective ban on K-pop content, which stretches back to 2017 following the deployment of the US’s THAAD missile defence system in South Korea.

SM Entertainment’s chief executive, who heads one of the country’s leading K-pop agencies, will join Lee’s business delegation, according to local media.

The Kennedy Center is ending the year with a new round of artists saying they are canceling scheduled performances after President Donald Trump’s name was added to the facility, prompting the institution’s president to accuse the performers of making their decisions because of politics.

The Cookers, a jazz supergroup that has performed together for nearly two decades, announced their withdrawal from “A Jazz New Year’s Eve” on their website, saying the “decision has come together very quickly” and acknowledging frustration from those who may have planned to attend.

Doug Varone and Dancers, a dance group based in New York, said in an Instagram post late Monday they would pull out of a performance slated for April, saying they “can no longer permit ourselves nor ask our audiences to step inside this once great institution.”

Those moves come after musician Chuck Redd canceled a Christmas Eve performance last week. They also come amid declining sales for tickets to the venue, as well as news that viewership for the Dec. 23 broadcast of the Kennedy Center Honors — which Trump had predicted would soar — was down by about 35% compared to the 2024 show.

The announcements amount to a volatile calendar for one of the most prominent performing arts venues in the U.S. and cap a year of tension in which Trump ousted the Kennedy Center board and named himself the institution’s chairman. That led to an earlier round of artist pushback, with performer Issa Rae and the producers of “Hamilton” canceling scheduled engagements while musicians Ben Folds and Renee Fleming stepped down from advisory roles.

The Cookers didn’t mention the building’s renaming or the Trump administration but did say that, when they return to performing, they wanted to ensure that “the room is able to celebrate the full presence of the music and everyone in it,” reiterating a commitment “to playing music that reaches across divisions rather than deepening them.”

The group may not have addressed the Kennedy Center situation directly, but one of its members has. On Saturday, saxophone player Billy Harper said in comments posted on the Jazz Stage Facebook page that he “would never even consider performing in a venue bearing a name (and being controlled by the kind of board) that represents overt racism and deliberate destruction of African American music and culture. The same music I devoted my life to creating and advancing.”

According to the White House, Trump’s handpicked board approved the renaming. Harper said both the board “as well as the name displayed on the building itself represents a mentality and practices I always stood against. And still do, today more than ever.”

Richard Grenell, a Trump ally whom the president chose to head the Kennedy Center after he forced out the previous leadership, posted Monday night on X, “The artists who are now canceling shows were booked by the previous far left leadership,” intimating the bookings were made under the Biden administration.

In a statement Tuesday to The Associated Press, Grenell said the ”last minute cancellations prove that they were always unwilling to perform for everyone — even those they disagree with politically,” adding that the Kennedy Center had been “flooded with inquiries from real artists willing to perform for everyone and who reject political statements in their artistry.”

There was no immediate word from Kennedy Center officials about whether the entity would pursue legal action against the latest round of artists to cancel performances. Following Redd’s cancellation last week, Grenell said he would seek $1 million in damages for what he called a “political stunt.”

Not all artists are calling off their shows. Bluegrass banjoist Randy Barrett, scheduled to perform at the Kennedy Center next month, told the AP he was “deeply troubled by the politicization” of the venue and respected those who had canceled but feels that “our tribalized country needs more music and art, not less. It’s one of the few things that can bring us together.”

President John F. Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Scholars have said any changes to the building’s name would need congressional approval; the law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

It’s time to ring in the New Year and there’s no better place than celebrating with Jools Holland, Mirror man Mark Jefferies can now reveal the secrets behind the celebrations

It’s 8.47pm and I’ve only had two ­bottles of beer but I am on my feet singing and dancing along ­without a care in the world. Others are arm-in-arm or hugging and a few people look a bit teary. In this make-believe world I have entered, it’s New Year’s Eve, and it’s midnight.

I celebrated 2026 before all of you, thanks to Jools Holland and a magical night in a dazzling West London TV studio on December 10. Jools Holland’s Hootenanny is as much part of the festive calendar as soaps and the monarch’s Christmas Day speech. Tonight is the 33rd time Jools will bring in the new year for millions.

Comedian Peter Kay even wrote about it in his latest book, saying that his mum still thinks it is live. My big question before going to Versa Studios was how do they create the party atmosphere which, it turns out, is as authentic as it looks on TV.

Guests are offered drinks at a free bar (rare for the BBC) and take their seats. Later, they are given glasses of prosecco to help celebrate “midnight” – about 30 minutes after the music starts.

Jools asks us to be quiet when the artists sing and cheer as loud as possible at the end. “If you feel the urge to dance and physically move, that is marvellous. Everyone is looking very beautiful and we’ve some incredible musical guests.”

This year’s bill includes Rolling Stone guitarist Ronnie Wood, Olivia Dean, Craig David, Lulu, Jessie J, The Kooks, Heather Small, Imelda May and the 1st Battalion Scots Guards.

Executive Producer Alison Howe says the mix of musicians is important and there are several versions of the running order and set list, which change before the final version on the day.

The other key thing is people who go along let themselves believe it is New Year’s Eve. She says: “You kind of enter into a magical world where you forget about what’s happening outside the doors.”

The show is also a big deal for lots of the musicians. Kooks frontman Luke Pritchard says: “It’s quite nerve-racking but in the best way. Hootenanny’s not just another gig, it’s THE New Year’s show. Everyone’s watching, hopefully everyone’s in a good mood, and you’re part of this moment that only happens once. It’s a proper privilege to be fair.

“And knowing you’re the soundtrack to someone’s night, maybe the song they’re kissing to at midnight or dancing round the kitchen with their nan and that means a lot to me. It’s quite touching when you think about it.”

After posing for a photo with me, Jools is off and doesn’t stop for the next three hours, greeting and chatting to A-list stars. Once the recording starts, he is introducing music, playing it himself on the piano and with his band or interviewing famous faces in the crowd. The only help he gets is from whiteboards with names or directions on, so that he can navigate a giant circle of bands, singers and guests.

When the recording is over, Jools tells me: “It’s a bit like a swimming pool you just throw yourself in and it’s all right, really, once the water’s OK and you start swimming, you keep the momentum going.

“You’re trying to remember what you’re playing on piano. When that finishes, you think what happens now? That’s why they’ve got a board, so I can remember where I’ve got to go to for the next bit.”

The aim is to film it without any breaks or stops and, aside from a couple of brief moments when production requests a pause which is necessary, filming is non-stop. Jools explains: “You want the energy to keep going. So if we record it in one and then it’s like real. It was all just, bang, bang, bang.

“There’s a few little mistakes in there, but who cares? It is what it is.” A definite highlight is singing sensation Olivia Dean, who performs hits and joins Jools in a version of Natalie Cole’s 1975 debut hit This Will Be (An Everlasting Love).

He says: “Olivia Dean has gone ballistic this year. When she was on the show a couple of years ago she was playing clubs. Now she is selling out stadiums around the world, from Rio to Munich to London’s O2, and adding on nights.

“She’s a remarkable, ­unbelievable person. She likes doing stuff with us, or doing stuff for me, because she goes back to what she used to listen to when she was a kid, things like Carole King, and in this case, doing that Natalie Cole song.

“I thought it was great. The sort of thing someone might do at a Christmas party. When I was little my nan would have a Christmas party and all my uncles and aunts would sing their favourite songs, which were often the musical songs. And it’s a bit like that.”

Jools’ band is the other key element, playing with many of the artists, including new songs and cover versions they don’t usually perform when on the road.

They get a day’s rehearsal in the studios and then the other bands join them on the afternoon of the recording day, so everyone gets to soundcheck and practise their tracks.

Jools says: “There’s a lot for my band to learn, lots of music to learn, and lots of things to arrange for the horns. That’s the bit the general public doesn’t see.

“Listening to stuff in their hotel rooms, making notes, so when we go into rehearsal, and the first time it’s counted in and we play, it sounds all right. And I’m not just saying this, the band has never sounded better.”

Jools’ Annual Hootenanny, BBC2 and BBC iPlayer, tonight, 11.30pm.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

More artists have canceled scheduled performances at the Kennedy Center following the addition of President Donald Trump’s name to the facility, with jazz supergroup The Cookers pulling out of a planned New Year’s Eve concert, and the institution’s president saying the cancellations belie the artists’ unwillingness to see their music as crossing lines of political disparity.

The fresh round of cancellations after Trump put his name of the building follows an earlier artist backlash in spring. After Trump ousted the Kennedy Center board and named himself the institution’s chairman in February, performer Issa Rae and the producers of “Hamilton” cancelled scheduled engagements while musicians Ben Folds and Renee Flaming stepped down from advisory roles.

The Cookers, a jazz supergroup performing together for nearly two decades, announced their withdrawal from “A Jazz New Year’s Eve” on their website, saying the “decision has come together very quickly” and acknowledging frustration from those who may have planned to attend.

The group didn’t mention the building’s renaming or the Trump administration but did say that, when they return to performing, they wanted to ensure that “the room is able to celebrate the full presence of the music and everyone in it,” reiterating a commitment “to playing music that reaches across divisions rather than deepening them.”

The group may not have addressed the Kennedy Center situation directly, but one of its members has. On Saturday, saxophone player Billy Harper said in comments posted on the Jazz Stage Facebook page that he “would never even consider performing in a venue bearing a name (and being controlled by the kind of board) that represents overt racism and deliberate destruction of African American music and culture. The same music I devoted my life to creating and advancing.”

According to the White House, Trump’s handpicked board approved the renaming. Harper said both the board, “as well as the name displayed on the building itself represents a mentality and practices I always stood against. And still do, today more than ever.”

Richard Grenell, a Trump ally whom the president chose to head the Kennedy Center after he forced out the previous leadership, posted Monday night on X that “The artists who are now canceling shows were booked by the previous far left leadership,” intimating the bookings were made under the Biden administration.

In a statement to the Associated Press, Grenell said Tuesday the ”last minute cancellations prove that they were always unwilling to perform for everyone — even those they disagree with politically,” adding that the Kennedy Center had been “flooded with inquiries from real artists willing to perform for everyone and who reject political statements in their artistry.”

There was no immediate word from Kennedy Center officials if the entity would pursue legal action against the group, as Grenell said it would after musician Chuck Redd canceled a Christmas Eve performance. Following that withdrawal, in which Redd cited the Kennedy Center renaming, Grenell said he would seek $1 million in damages for what he called a “political stunt.”

President John F. Kennedy was assassinated in 1963, and Congress passed a law the following year naming the center as a living memorial to him. Scholars have said any changes to the building’s name would need congressional approval; the law explicitly prohibits the board of trustees from making the center into a memorial to anyone else, and from putting another person’s name on the building’s exterior.

Kinnard writes for the Associated Press. AP writers Steven Sloan and Hillel Italie contributed to this report.

JESS GLYNNE has called it quits with Jay-Z’s management company Roc Nation.

The move is to wipe the slate clean for 2026.

It follows a career blow earlier this year when she split from record label EMI following the release of just one album with them.

I’ve now learned she is no longer being looked after by Roc Nation — who I first revealed she had signed to in 2022 — and her career is now being guided by former Bros bass player Craig Logan.

Jess has teamed up with Logan Media Entertainment, which is run by Craig, who was in the Eighties pop band that had hits inculding When Will I Be Famous?.

It means that she is now on a roster alongside Pink, Dido, Louise and Beverley Knight.

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My music insider said: “Jess hasn’t had the easiest situation in music. She has found it hard to get a team behind her who she feels really gets who she is and what she is aiming for.

“Now she has Craig and his firm, there are fresh ideas coming through thick and fast. Big things are being discussed for the coming months.”

Despite a turbulent time behind the scenes in 2025, Jess has had one of her most successful years thanks to hit Hold My Hand — a decade after it was released.

The song was named TikTok’s UK song of the year, after it was supercharged by the viral Jet2holidays trend.

Jess said: “I always knew there was something special about it. Melodically it’s instantly uplifting and catchy, but at its heart, the lyrics are powerful. They are about connection. The Jet2 campaign has brought a really fun, light-hearted twist to the song, and seeing it become TikTok’s song of 2025 ten years after its release has been incredible.

“It breathed new life into it, and I’m so grateful to see a wave of a new audience now connect with it and learn more about the song, and me. I am incredibly grateful for the journey this song is on.”

There has been more good news lately, with Jess suggesting she is preparing to pop the question to her girlfriend Alex Scott following the football presenter’s stint in I’m A Celeb.

During her career, Jess has scored seven UK No1 singles, although her last one was I’ll Be There in 2018.

But with a new team behind her, she will be giving it everything she’s got to add to that hits tally.

Fit Shaun tour vow

SHAUN RYDER is preparing to spend the new year whipping himself into shape ahead of the next Happy Mondays tour.

The group will hit the road for 22 dates across March and April.

Shaun tells me in an exclusive chat: “I am determined to get fit for the tour.

“I still get on my bike, and I love swimming. There is a pool at my gym. I do that a few times a week. But my other hip is f***d, and I need it replaced. So I can’t walk like I used to. “I’ve already had one hip replacement. And that f***d up.

“I should have had the other one done ages ago, but I’ve not had time.”

Shaun also vowed to be on his best behaviour on tour, adding: “I think the last time I went out and did any raving was 2000.

“I went and saw Oasis three nights in a row and danced around like a lunatic but I am totally clean now.

“My only addictions are to tea and Haribos. However, I still have two teenage girls at home.

“This means that when I am at home, I am Shaun’s taxi service. It’s f***ing nuts.

“The missus wants me out of the house as quickly as possible. So, you know, it’s like, I have come back from Ireland, and I am going straight out on the road with Black Grape.

“But I have spent the last few days as a taxi driver for the girls.”

The joys of middle age, eh Shaun?

Khloe’s not to be mist

THIGH and mighty Khloe Kardashian flashes the flesh as she promotes her hair mist.

And it comes after she denied getting back together with basketball player Tristan Thompson after their split in 2021.

The Kardashians celebrated Christmas with a gingerbread house that was iced with the family members’ names, and fans noticed his was on there.

But she replied: “He’s my children’s father.”

Ashley’s melon boat

ASHLEY ROBERTS enjoys a slice of the high life as she chomps on a watermelon during a luxury getaway.

The Pussycat Dolls singer wore a bikini top, shades and headscarf as she posed on a yacht in Mauritius.

She has jetted off with her boyfriend, tattoo artist George Rollinson, for a post-Christmas holiday and looks suitably loved up.

Coming back to dreary England in the new year is going to be quite a shock for her.

Zoe: My Britpop snogs

ZOE BALL has revealed she locked lips with famous names while living life to the full in the hedonistic Nineties.

On her Dig It podcast, she played a game of Snog, Marry, Avoid, and joked: “I did snog and avoid quite a few Britpop stars, none of whom I shall mention now.”

Zoe added: “I would avoid Damon [Albarn] because I can’t talk to him because I go all stupid. Young me would definitely have wanted to snog Liam Gallagher way back in the day.

“He would talk to me and I’d be like, ‘Fair, fair’.

“I don’t think I’d have wanted to marry any of them because I don’t think you should marry or meet your idols, quite frankly.

“But Dave Grohl, however, I would have wanted to marry and snog.”

Me too, Zoe.

Sex pistols are firing with Frank

THE SEX PISTOLS and Frank Carter are planning new music.

The punk band, made up of Glen Matlock, Steve Jones and Paul Cook, have been touring with Frank, who replaced John Lydon as singer.

Now Glen wants the group to get into the studio together.

He said in an exclusive chat: “I’ve got a few ideas. I think Frank has. Steve’s a bit of a, ‘Just go and play’ kind of guy. I think Paul’s sort of on the fence about it, we’ll see. I think we’ve got it in us.”

The Sex Pistols and Frank – whose gigs were branded “karaoke” by bitter John – are also heading on tour again this coming year and have a host of dates in America.

Glen, who has a new documentary out, I Was A Teenage Sex Pistol, said: “We should have been just finishing a two-month American tour, but we had to postpone it because Steve fell over coming out of the Chelsea ground and broke his wrist in three places.

“We’ve had to reschedule everything. We’re going to be busy again.”

Fifth ammendments

FIFTH HARMONY will make their comeback in 2026 after a brief reunion at a Jonas Brothers gig.

NORMANI has confirmed the return, eight years after they split up. She will take part with Ally Brooke, Dinah Jane and Lauren Jauregui, but Camila Cabello won’t be back.

Teasing that fans can expect them back, Normani said: “I don’t have loose lips, but yes, 2026 will be one for the books for Fifth Harmony.”

Freedom for Jade

ANGEL Of My Dreams singer Jade has become Angel Of The North – after being given the Freedom of the Borough in South Tyneside, where she’s from.

She received the honour alongside the owner of local chippy Colmans.

Jade said on Instagram: “What an honour this was, with my family and friends by my side.

“If you see me walking my cattle around the town, mind ya business.”

Olivia’s loving New Year No1

OLIVIA DEAN looks set to claim the first No1 album of 2026, as The Art Of Loving is rising back up the charts.

The British singer’s album is currently in the lead and is expected to spend a third non- consecutive week in the top spot, although Sabrina Carpenter’s Man’s Best Friend is just behind her.

And another Liv – Olivia Rodrigo – is also back in the charts.

After I told last week that she had split up with her boyfriend, actor Louis Partridge, fans have shown their support by streaming her albums.

Guts has risen to No21, while Sour is now at No22.

Card pass for B’s fit

SOMETHING tells me Cardi B was more focused on turning heads than watching the match as she turned up at an American football game in New York.

Her 1991 outfit is vintage Chanel, while the giant pearl handbag is from its latest line.

This Saturday will mark five years since Juan Gabriel died.

Of course, the iconic singer songwriter — real name Alberto Aguilera Valadez — isn’t really dead.

His body may no longer be with us, but how can someone who meant so much to people of Mexican heritage on both sides of the border cease to exist?

It’s impossible to sum up the full impact that Gabriel has had on generations of Mexicans and Mexican Americans. It’s more than the songs or the stage persona or the me vale attitude to what you thought about his sexuality. It’s the fact that for many of us he’s a connection to our families (raise your hand if your mom made you clean the house while blasting his music), to our homeland and to our culture. He gave us a shared language that affords us the opportunity to rejoice or grieve as a community.

There are profiles written about the man that are worth your time — I recommend this one published in The Times in 1999 — but for this newsletter we turned it over to our community to tell us how El Divo de Juárez forever changed their lives.

Juan Gabriel and the LGBTQ community

Juan Gabriel when asked if he was gay: “Lo que se ve no se pregunta”

(Julio Salgado / For The Times)

Luis Octavio remembers the first time he saw Gabriel. He was sitting with his family and the singer was about to perform on the weekly Mexican variety show “Siempre en Domingo.”

But all he could focus on was the sequins Gabriel was wearing.

“It gave me a little bit of hope that maybe my jotería would be accepted just the way my abuela, my abuelo, the tíos and everybody else who saw him on that screen accepted his and saw past his flamboyance,” said Octavio, co-founder of the drag bar El Place and one of the organizers of Boyle Heights’ first pride event.

Gabriel’s sexual orientation has always been an open secret. It has always been assumed that he was gay, but it was rarely discussed, with one glaring exception.

During a 2002 interview with news program “Primer Impacto,” reporter Fernando del Rincón asked Juanga point-blank if he was gay. With daggers in his eyes, Gabriel responded with “Lo que se ve, no se pregunta.” What is seen is not asked.

Octavio told me this interview always stood out for him — he described it as iconic, which, yeah, it is — because it told Mexican queer people that being who they were was more than enough and that you didn’t owe anything to anyone.

It’s a sentiment that Nomi B, a drag queen who hosts “Noche de Gringaderas” at El Place, certainly relates to.

“We all knew he was a sister,” she said.

“I admire that he kept his life private and he was like, ‘I don’t care what you think or say about me. I’m going to keep my life private and you’re going to enjoy my music no matter what.’”

‘Abrázame que el tiempo es malo y muy cruel amigo’

In 2000, Juan Gabriel released “Abrazame Muy Fuerte,” an operatic banger that makes the case that time is cruel, unforgiving and finite for humans. Because of this, he begs his subject to pend much of that time embraced in each other’s arms. The song was a huge hit and was used as the theme song for a telenovela that shared the same name.

A few years later, it also became my parents’ song.

Around that time, my mom developed a brain tumor. The doctors didn’t know yet if it was malignant, but my family assumed the worst. The prospect of losing our anchor became very real. My dad took it the hardest, and because he is the embodiment of the closed-off macho who tries very hard not to emote, he didn’t have an outlet to let out what he was going through.

So he did what any Mexican would do: He turned to Juan Gabriel.

I was away at college when this happened, but my sister would tell me that he’d play the song nonstop, sometimes sitting next to my mom on the couch with his eyes closed in prayer. It must’ve worked because the tumor ended up benign. Decades later, my mom is the healthiest she’s ever been.

During the pandemic, that song took on an added meaning for me. It was late last year and my parents and I decided to take a road trip. “Abrazame Muy Fuerte” came on. All three of us started singing along, and it wasn’t long before we started bawling. The painful memory came back, but with it came the realization that we still had time and we were spending it together.

That’s the thing about Juan Gabriel’s music. These aren’t just songs. They’re memories. They’re feelings we can’t express, and even if we could, why would we when Juanga’s already done it better?

When I decided to write about Gabriel, I knew that I wanted others to share some of their favorite songs. I asked friends and colleagues to contribute a song for this Spotify playlist and to write a few lines about why they picked that tune.

Artist Julio Salgado: “I wanted to illustrate a mom teaching her son to clean while listening to Juan Gabriel. I totally took this from my own experience as my mom had no tolerance for boys just sitting around and not cleaning when we were growing up.”

(Julio Salgado / For The Times)

“Querida”— He’s just so dramatic! Like, “Yes, b—!” (Nomi B, drag queen)

“Amor Eterno” — If there’s a song that defines who Juan Gabriel is, it’s “Amor Eterno.” Since he wrote the song for Rocio Durcal, it’s Juan Gabriel as a song writer. As a singer, his emotion has made it the quintessential Mexican song about heartbreak, regret, and ultimately, trying to make sense out those emotions. With the song’s lyrics and emotions — along with Juan Gabriel being from the Juárez-El Paso borderland — it’s little wonder why “Amor Eterno” was played and sang everywhere in the days following the El Paso massacre. (Roberto José Andrade Franco, writer-at-large at Texas Highways)

“La Frontera” — When I first moved to the U.S. I felt like I didn’t belong here because I didn’t speak perfect English and nobody could pronounce my name. Listening to that song and how he talked about how everybody’s happy at the border and how everyone’s different, it made me feel safe. (Luis Octavio, co-founder of Boyle Heights drag bar “El Place”)

“Inocente Pobre Amigo” — Juan Gabriel was the first poet in my life, a staple at my parents’ home in South Gate, California. My mother owned all of his albums. And when I went away to study literature at the University of Chicago, I took them with me.

I was back in California, walking around in Boyle Heights, when he passed. I got the news alert. Then, all along César E. Chávez Avenue, shop owners blasted his songs. Juan Gabriel wrote hundreds. I know all of them.

For beginners, I recommend “Inocente Pobre Amigo,” which recounts a heartbreaking disillusion but, above all, is a song about valuing yourself. Go on YouTube. Find the version that was recorded during Juan Gabriel’s first concert in Mexico City’s Palace of Fine Arts. Watch him perform with his hands on his hips, glistening in black and gold sequins. Hear him crack jokes with the audience and watch the mariachis on stage try to muffle their laugh. Recall that some elitists thought his work was too lowbrow for the venue.

When Juan Gabriel passed in 2016, his ashes were taken to that same place. For hours on end, hundreds of thousands of people poured in to pay their last respects. I wish I’d been one of them. (Julia Barajas, Los Angeles Times staff writer)

“El Noa Noa”— It’s a song about a place where you can go and be who you are. The ambience of the bar might be different than what people are used to, but it’s about everyone being welcomed and letting them feel like they can be happy. (Melissa Befierce, Mother of Haus of Befierce and events coordinator at El Place)

“No Tengo Dinero”— For me, Juan Gabriel’s songs are tied to memories of me riding on my grandfather’s truck with my aunt and my grandmother on the roads of Campeche where we lived for a few years. Juan Gabriel’s “No Tengo Dinero” is one of his iconic songs because for many it’s always a struggle to have money, but if at least we have love, we know we’ll be alright. (Denise Florez, Los Angeles Times multiplatform editor)

“Have You Ever Seen the Rain? (Gracias al Sol)” — My mom and tías have always been huge Juan Gabriel fans. I grew up in El Paso and he of course has immensely close ties to Juárez, where his career took off. His music is the soundtrack of my childhood. There was a brief time when it was around so much, it annoyed me. But when I moved away from home, that soundtrack became so powerful and comforting. It instantly connected me with my family. My sister, mom and I have sung (poorly) along to “Querida” hundreds of times at this point. But that’s going to be almost everyone’s favorite song. It’s just kind of perfect JuanGa. But the one I’ll choose for this playlist is what I believe is the only cover he ever did: “Have You Ever Seen the Rain? (Gracias al Sol).” In the video, he’s wearing amazing rainbow-colored pants and having so much fun. He brings joy to his work and it’s infectious. He’s also a great singer, so it stays on my playlist along with the much older hits. (Iliana Limón Romero, Los Angeles Times deputy sports editor)

“Hasta Que Te Conocí” — Later brilliantly covered by Ana Gabriel, it is the perfect song about love gone sour, heightened by lyrics that are pure melodrama. (Carolina Miranda, Los Angeles Times columnist)

“Así Fue” — He was never more brilliant, more heartbreaking, more JuanGa than in that song. (Gustavo Arellano, Los Angeles Times columnist)

“Costumbres” — Here’s an extremely on brand story: During one of my family’s chaotic Christmas parties, we were all doing what we usually do⁠—drinking tequila and singing along to a playlist of Juan Gabriel, Rocío Durcal, Alejandro Fernández and, well, you know the vibes. As always, “Costumbres” comes on, the Rocío version, and my trash-talking sister starts to sing loudly, drunkenly, and off-key: No cabe duda que es verdad que la costumbre es más grande que el amor. She looks at me and says, “That’s f— real, dude. La costumbre really is más grande que el amor.” She then scowls at her husband across the room and screams over the music, “F— you, [name redacted]!”

That is the power of “Costumbres.” That’s actually the power of 99.9% of songs written by Juan Gabriel. However, “Costumbres” is god-tier in his canon of songs that have an unbelievable ability to drag your soul. We dance to “Noa Noa,” weep to “Amor Eterno,” raise our arms up to “Querida,” and strongly consider divorce to “Costumbres.”

“Costumbres” is sung from the perspective of a person telling their partner their love has been replaced by resentment, but habit and the comfort of a warm, familiar body keeps them together no matter how many times they try to walk away. Juan Gabriel’s love songs have an uncanny ability to swim in the thick nuances of romance, its brutal pains and exhilarating joys, and as is the case with “Costumbres” the harsh realities of committing your life to someone. He seemingly had a direct line to our deepest fears about love, and expressed poetically something even as mundane as being over it but staying anyway. To quote my sister, that’s f— real, dude. And it’s why “Costumbres” along with so many other songs he penned are elevated to a place of cultural veneration and soundtrack of the most affecting moments of our lives. (Alex Zaragoza, senior culture writer at Vice)

Fernandomania @ 40: El Campeón.

The latest installment of our multi-part documentary series “Fernandomania @ 40” is out today. You can watch here.

When Fernando Valenzuela took the mound in Game 3 of the 1981 World Series, the New York Yankees had a commanding 2-0 lead over the Dodgers and Tommy Lasorda’s crew was facing the real possibility of a third World Series loss in five years to their East Coast rivals. In the end, the Dodgers won the game, 5-4, largely due to the gritty performance of their rookie left-hander. Valenzuela gave up nine hits and seven walks in a 146-pitch complete-game, spurring the team to a World Series victory and cementing his pitching legacy in Los Angeles.

Missed an episode of “Fernandomania @ 40”? You can find them all here.

Yesterday was the MLS vs. Liga MX All Star Game at the Banc of California Stadium near downtown Los Angeles, but the most important soccer match that took place that day happened hours earlier at a park in Pasadena. That’s where members of the #LigaMXEng community got together to celebrate the beautiful game (and come to terms with how out of shape many of us actually are).

What’s #LigaMXEng? It’s a Twitter hashtag where podcasters, reporters, and fans from around the country congregate to talk about Liga MX, the most popular soccer league in the United States. More importantly, it’s entirely in English, the primary language for many of us. It’s that last part that does it for me.

2026 is shaping up to be a massive year for music fans, with huge names set to drop new albums and singles.

From Lana Del Rey adding a country twist to her latest tracks, to The Rolling Stones promising fresh rock anthems, there’s something for every taste.

Rising stars like Raye and Leigh-Anne will be making waves, while veterans including Paul McCartney, Van Morrison and Bruce Springsteen show no signs of hanging up the microphone.

With this and so much more on the way, here are our top picks for an exciting year ahead.

LANA DEL RAY 

FOLLOWING the likes of Beyonce and Post Malone, Del Rey is set to saddle up and add country nuances to her tenth studio album.  

Previously announced as Lasso and The Right Person Will Stay, expect Stove sooner rather than later in the new year.  

XMAS LEGEND GONE

Driving Home For Christmas singer Chris Rea dies aged 74

NEW TUNE

Legendary band’s unreleased track to be played publicly for first time since 1974

Singles Henry, Come On and Bluebird demonstrated her shift to Americana stylings. 

THE ROLLING STONES 

MICK JAGGER, Keith Richards and Ronnie Wood may be hanging up their touring boots, but it still promises to be a momentous year for rock’s great survivors.  

There was a huge 18-year gap between Hackney Diamonds (2023) and the Stones’ previous album of original songs, A Bigger Bang.  

But in late April, we can expect a new one, again produced by US live wire Andrew Watt. 

RAYE 

WE can expect the much-anticipated follow-up to Raye’s all-conquering, soul-bearing, Brits-winning My 21st Century Blues.

The R&B singer debuted two unreleased songs at this summer’s Glastonbury with one, Where Is My Husband!, becoming the lead single from the as-yet-unnamed album.

Her official site promises an early 2026 release date. 

FOO FIGHTERS 

A NEW album from Dave Grohl and Co is on the cards in 2026, their second since the sad passing of Taylor Hawkins.

With another new drummer, ex-Nine Inch Nails Ilan Rubin, announced in the summer, the first recorded music with him appeared in the shape of single Asking For A Friend.

Two massive UK shows at Liverpool’s Anfield Stadium are set for June. 

ROBBIE WILLIAMS 

INSPIRED by the mid-Nineties period after Robbie left Take That, Britpop is his 13th studio album. 

It begins with the, er, rocket-fuelled Rocket, which is graced with suitably heavy riffing from Black Sabbath’s Tony Iommi. 

Bearing in mind the recent exploits of Oasis, Blur, Pulp and Suede, why not this celebration by one of the era’s favourite singers?  

Out on February 6. 

CHARLIE XCX 

AFTER the Brat summer of 2024, the singer heads in another direction with her soundtrack album for Wuthering Heights.  

Out on February 13, same day as Emerald Fennell’s film version of Emily Bronte’s novel, it has already yielded singles House, with Velvet Underground legend John Cale, and Chains Of Love.

Charli says: “It couldn’t be more different from Brat.” 

PAUL McCARTNEY 

AS far as his epic music career is concerned, Macca will never “let it be”. 

The Beatles legend confirmed work on the follow-up to 2020’s excellent McCartney III.  

In the foreword to a memoir about his other band, Wings, he wrote: “Right now, I have 25 songs that I’m finishing . . . new songs that are interesting.”  

He’s also mentioned in despatches sessions in LA with Andrew Watt (Stones, Lady Gaga). 

THE FACES 

HERE’S a rock ’n’ roll reunion to savour. 

The band’s three survivors, Rod Stewart, Ronnie Wood and Kenney Jones, have been preparing their first album in more than 50 years. 

At least 11 songs have been recorded, which Jones says are “a mixture of stuff we never released but is worthy of releasing and some wonderful new stuff. Rod is writing the lyrics.” 

COURTNEY BARNETT 

THE Aussie rekindles her love of the electric guitar on her forthcoming fourth album.

After decamping to California, she’s been recording in Rancho De Luna, Joshua Tree, home of the legendary hard-rocking Desert Sessions.

First evidence of her labours is recent single Stay In Your Lane, complete with scuzzy bass lines and wonderfully deadpan vocals. 

VAN MORRISON 

HOT on the heels of his sublime return to form, Remembering Now, comes this love letter to the blues, Somebody Tried To Sell Me A Bridge.

Out on January 23, the 20-track album proves Van is still “The Man” at 80.

It includes Fats Domino’s Ain’t That A Shame, Blind Blake’s Delia’s Gone and features stellar 

guests – Buddy Guy and Taj Mahal among them. 

DANNY L HARLE 

AFTER stellar production duties with Dua Lipa, Caroline Polachek and Olly Alexander, Harle steps into the limelight with the genre-hopping Cerulean (released February 13).

“This is my debut album. This is the big one,” says the North Londoner.

Singles already released Starlight (ft PinkPantheress) and Azimuth (ft Polachek) offer much promise. 

BJORK 

THE Icelandic icon has given a strong hint of new material in the new year, her first since 2022’s Fossora. 

She’s involved in a huge exhibition in Reykjavik involving immersive audio and visual installations.

A social media post reveals that the third and last of these is “a new work based on music from her forthcoming album, currently in development.” 

LEIGH-ANNE 

THE impressive former Little Mix singer can finally do things her way when 

she releases her 15-track debut album as an independent solo artist. Following the singles Been A Minute, Burning Up and Dead And Gone, she delivers My Ego Told Me To in February.

Rooted in reggae and pop, it explores personal themes of family and empowerment. 

GORILLAZ 

MURDOC, Russel Hobbs, 2D and Noodle – the brainchildren of Damon Albarn and visual artist Jamie Hewlett – release The Mountain on March 20.

The ninth Gorillaz album brings Indian music to the fore but also finds room for guest appearances by Sparks, Gruff Rhys, Idles and Johnny Marr. Drummer Hobbs calls it “a journey of the soul – with beats.” 

BRUCE SPRINGSTEEN 

THIS was a year when The Boss gave us so much.

Another visit to the UK with the E Street Band followed by two significant raids on his archives – Tracks II with its SEVEN unreleased albums and an expanded Nebraska to coincide with the recent biopic.

Yet he told Rolling Stone: “I have a record finished. It’s a solo record  . . .  I imagine it will come out in ’26 some time.”  

MUMFORD & SONS 

THE trio of Marcus Mumford, Ben Lovett and Ted Deane have reunited with Taylor Swift associate, The National’s Aaron Dessner.

He has produced and co-writes Prizefighter.

Set for release on Feb 13, the band’s sixth studio album arrives less than a year after their UK No 1 fifth, Rushmere. Gracie Abrams, Chris Stapleton & Hozier guest. 

LUCINDA WILLIAMS 

BEARER of one of the most passionate voices in American music, Williams returns with World’s Gone Wrong on January 23.

She addresses head-on the divisions in her country while taking specific aim at the sandy-haired White House incumbent.

She duets with the mighty Mavis Staples on a cover of Bob Marley’s So Much Trouble In The World. 

THE DAMNED 

WHEN the punk pioneers’ founder member Brian James died earlier this year, the current line-up recorded a covers album celebrating the Sixties music loved by their fallen comrade.

Not Like Everybody Else is out on January 23.

Singer Dave Vanian turns There’s A Ghost In My House into a hoot and Captain Sensible takes the lead on Pink Floyd’s See Emily Play. 

If the Shakers have a lasting cultural legacy, it is their music — most famously “Simple Gifts,” the uplifting spiritual Aaron Copland immortalized in his ballet “Appalachian Spring.” It stands to reason, then, that a film about Ann Lee, the founding “mother” of this 18th century celibate Christian sect, would be a musical. But this was no conventional woman and “The Testament of Ann Lee,” directed by Mona Fastvold and opening in L.A. on Dec. 25, is no ordinary musical.

“Ann Lee was very radical and extreme,” says composer Daniel Blumberg, “and Mona is as well.”

As conceived by Fastvold and Blumberg, the entire tapestry of this film is musicalized — from the emphatic breathing, chest thumping and floor stomping that make up the worshipers’ rituals, to the songs, inspired by Shaker traditionals and performed by star Amanda Seyfried and the cast. Even the sounds of wind, the creaking of ships and a passing cow play a part.

“This cow walks past during the song ‘I Love Mother,’” says Blumberg, 35, visiting L.A. from his native England and speaking from a hotel room over Zoom. Bald with severe features but a soft and guileless disposition, he’s fidgety about the whole Hollywood press dance — this is only his fourth feature film score. But Blumberg is eager to dissect his music-making process and brag about his collaborators. “We were tuning the cows to the song,” he says.

Amanda Seyfried and Lewis Pullman in the movie “The Testament of Ann Lee.”

(Searchlight Pictures)

In a prologue about Lee’s harsh childhood in Manchester, England, her mother hums a tune to her based on the traditional Shaker hymn “Beautiful Treasures.” The melody is then completed on celeste in Blumberg’s score, surrounded by a liturgical choir. The entire film is this kind of holistic musical current: score, songs and environment all in conversation with each other, every component a part of the dance.

“The whole project was very dangerous,” says Blumberg, an indie singer-songwriter with a cult following in the U.K. and now an Oscar for last year’s “The Brutalist.” “It’s always on the edge. And for me that’s a good place to be when you’re making art.”

In one stunning montage, we see a newly married Lee subjugated to religiously-tinged sex (a catalyst for her dogmatic rejection of carnal relations), give birth to several babies, mourn their deaths and express her sorrow in a fervent dance for God. Erotic noises and the cries of childbirth weave together with prayerful moaning and a mother’s keening cries, all integrated into Blumberg’s instrumental score — a guided meditation for bells and strings — with Seyfried singing “Beautiful Treasures.”

“It was very important to me to try and create this hypnotic feel to the film,” says Fastvold, speaking on Zoom from her car during the awards-season whirlwind. “You had to understand it on a sensorial level. Because I think a lot of the appeal, especially early on, were these kinds of endless dance/voice/confession sessions that would last for days.”

“If it’s just someone preaching to you,” she adds, “I certainly can’t connect to that.”

The director, 44, grew up in a secular home in Norway, but her film about this radical American sect is strikingly earnest. Fastvold doesn’t judge Lee’s convictions; there isn’t an ounce of cynicism or condescension. After having a prophetic vision in which Lee is told she is the female incarnation of Jesus Christ, Seyfried sings, “I hunger and thirst / After true righteousness / I hunger and thirst” with utter heart-bleeding sincerity. The camera and the music share her faith completely.

“I never felt like I wanted to laugh at them,” says Fastvold. “I wanted to laugh with them and sometimes their naivete is funny and endearing. But I never wanted to ridicule them. Of course, it’s a very scary thing to try and do.”

When Seyfried read the screenplay two years ago, she experienced some of that intimidation.

“It was definitely the most confused I’ve been in a while reading a script,” she says, nursing a hot tea on Zoom, “because I’m seeing these placeholders for where the hymns will be, when the music comes in, when the diegetic sound goes out or if it doesn’t at all. It was all very foreign to me — which is not necessarily a bad thing. It just leaves me with so many questions.”

Fastvold co-wrote “The Testament of Ann Lee” with her partner, Brady Corbet, who directed “The Brutalist.” They were developing it while working on his breakthrough epic. Blumberg, who has made a number of solo albums and been part of several bands including Cajun Dance Party and Yuck, became friends with Corbet a decade ago. The trio became inseparable.

Fastvold was listening to Blumberg’s records when she decided to direct “The World to Come” in 2020, a warm historical romance about two women in a chilly frontier America. She remembers being captivated by the “beautiful dissonance” in his music. “There’s this mournful, slightly atonal quality to his compositions,” she says.

Fastvold hired Blumberg to score her film — his first — and invited him to the set in Romania to experience the time-traveling feeling of the woods and the sound of passing sheep. She even gave him a small on-screen part, selling a blue dress to Katherine Waterston’s character. It was emblematic of her and Corbet’s then-burgeoning philosophy: of making lavish films on a shoestring, using stunning foreign environments to portray a bygone America and roping crew members and family into the collaboration.

For her ambitious follow-up musical about the Shakers, Fastvold knew she needed Blumberg at the ground level, along with choreographer Celia Rowlson-Hall, a collaboration that required proximity. “We kind of move in together for a while and just start figuring it out,” Fastvold says.

“The whole project was very dangerous,” says Blumberg. “It’s always on the edge. And for me that’s a good place to be when you’re making art.”

(Ian Spanier / For The Times)

They discussed how to cast a spell on the audience and how, with cinema, “you’ve got these tools to use,” says Blumberg, “with image, sound, the writing of it all and just to push those as far as possible. Obviously with the edit you can move in time very quickly, and then with sound you can bring people into the room that the characters are in, but also bring them into the heavens. It was trying to use the materials that we had to make an experience — with the story, but inside the story as well. An immersive experience.”

Fastvold and Blumberg immersed themselves in the thousands of songs the Shakers left behind, including hymns and what the group called “gift songs” and “dance songs.”

“What is our dialogue with this tradition and what is it that we’re bringing to this conversation?” Fastvold remembers them asking each other. “Because really that, to me, is what folk music is. It’s passed on, it’s transformed — it turns into something else and then passed on again.”

They found several Shaker songs that fit the needs of given scenes and moments; whenever they couldn’t, Blumberg wrote an original. The Jewish composer recalled the niguns — wordless, improvised prayers — that he grew up hearing in synagogue, and he drew on that sense memory. Many Shaker songs are mantra-like prayers addressed to God, simple rising and falling melodies based on a short repeated phrase. Blumberg got creative with the harmonies, creating demos that he sang himself.

“It was very nerve-racking,” he says, “because score is a moment where you can fix things — you do it after the edit — but this was going to define the pace of the film. There’s quite high stakes of it working.”

Seyfried was nervous too. Even though she’s a trained singer, with film credits including “Mamma Mia!” and “Les Misérables,” this peculiar religious epic required an enormous leap of faith.

“I knew Mona was going to shoot it beautifully,” Seyfried says, “and I knew that Daniel was going to be there every step of the way. And I knew that I was in good hands — but I didn’t know at that point that I could trust myself as a singer, as a musician. It was completely new territory for me. Terrifying.”

The songs were prerecorded for playback on set. The first thing Seyfried recorded in studio was an a cappella song for a scene late in the film — the lyric is “How can I but love my dear faithful children?” She says she felt miserable.

“I was just like: I sound terrible,” Seyfried says sincerely. “This song is not fun to sing. It’s beautiful, but I don’t sound beautiful. I don’t like the way I sound. And we kept doing it and my voice was dry.”

Blumberg patiently worked at finding the most comfortable key for her voice. “I had no idea how lucky I was,” she says.

Amanda Seyfried in the movie “The Testament of Ann Lee.”

(TIFF)

In the process of working with Blumberg, Seyfried says she came to a deeper appreciation of the character as well as her own singing voice. “I was so critical of it,” she remembers, but the role gave her a different kind of freedom. “I was playing somebody who didn’t necessarily have to be a beautifully trained singer,” she says. “She sang because she wanted to feel alive, and she wanted to feel free, and she wanted to feel connected to her faith — and that already just liberates the performer.”

After extensive rehearsals that continued throughout production, Fastvold shot the film in Budapest. Blumberg was always on set, accompanying the actors with a small keyboard. (Thomasin McKenzie and Lewis Pullman are among the cast members who also sing in the film.) Sometimes the actors had a simple click track in an earpiece, other times a “stomp track” from the foot choreography. They would sing live in addition to lip-syncing to playback and Fastvold amassed a huge variety of live tracks — vocals, breaths and other bodily sounds — for her final mix.

“I wanted all of that life and that natural feel to it,” she says, “to not have it feel polished at all, to just be really raw. Because they weren’t singing to entertain. It’s never performative. It’s always from this place of prayer or pain.”

With her principal cast surrounded by Hungarian extras, Fastvold roped everyone, from the dialect coach to the first assistant director’s son to Blumberg’s sister, into the dance.

“If you came to visit, you were in the movie,” she says. “The cast is the crew and the crew is the cast. It’s how I like to do it.” Once again, Daniel Blumberg appears on-screen, in scenes of Shaker worship; he also sings an original duet, “Clothed by the Sun,” with Seyfried under the end credits.

But at this point his work was only half done. Armed with a cut of the film, pillared by the songs he wrote and arranged, Blumberg crafted a score that subtly teed up song melodies and established a sense of spiritual trance. He gravitated toward the sound of bells; he and Fastvold found a handbell from Ann’s era that they used in early demos and he ended up renting some 50 church bells, in different keys, all laid out on the floor of his London flat.

He extended the bell idea with the jangly celeste, also known as a bell piano, and he augmented those bells with a small string ensemble, a choir and, at one point, even an electric guitar.

It was Blumberg’s idea to have two veteran improvising singers, Phil Menton and Maggie Nichols (who also appears in the film), to each record a track where they improvised along to the entire film. Working with mixer Steve Single, Fastvold and Blumberg would occasionally bring up one of these stems and layer it into the rest of the soundtrack for an added color.

“We’d say, ‘Let’s hear what Maggie was doing at this point,’” Blumberg says, “and then we’d bring up her stem and be like, ‘Oh, wouldn’t it be nice if she follows that character there?’ Or, ‘Wouldn’t it be nice if she’s humming outside the window?’ Or if it’s almost like the heavens speaking down on Ann?”

The final result is utterly unique to Blumberg and Fastvold, a period character study by way of trance and an experiential approximation of religious fervor. By exploring a distant and somewhat alien community through the device of music, they somehow tapped into something universal.

One of Blumberg’s favorite moments in the film is a scene where a group of sailors, transporting Lee and her disciples to the new world, shout at the Shakers to stop singing. “They really sound like this out-of-tune rabble, and you hear what maybe other people might have heard,” he says. “And then a few minutes later they’re praying on the ship and I’ve used all these reverbs and there’s all these choirs singing in the background — it’s almost like what they felt from within.”

Like the Shakers and their songs and prized furniture, “Ann Lee” was made with craft and care by a small and familial utopian community of its own.

“There were no notes from film people,” says Blumberg. “It was our bubble. So the only fear was just them trying to release it and everyone going, ‘No, that’s just mad.’ But what I was trying to do from the start was: If I got to something that seemed good, how can I push that further? Like, really trying to push everything to the extreme.”

If it began to sound a lot like Christmas earlier than usual this year, it wasn’t your imagination.

Halloween wasn’t even over before Spotify users began curating songs about mistletoe, snow and presents under the tree.

Holiday playlists created on Spotify in the U.S. jumped 60% in October over last year, the Swedish audio company said. Some Spotify users started crafting holiday playlists as early as summer.

“It’s a combination of wanting to feel good and nostalgia, and these are testing times,” said Talia Kraines, editorial lead for pop at Spotify. “Somehow Christmas music brings comfort and I think that’s a real part of it.”

Indeed, eight of the top 10 songs on Billboard’s Hot 100 chart for the week that ended Saturday were Christmas songs, with the top five being familiar holiday classics, including Mariah Carey’s 1994 hit “All I Want for Christmas Is You,” Brenda Lee’s 1958 recording of “Rockin’ Around the Christmas Tree” and Wham!’s “Last Christmas,” released in 1984.

On-demand streams for holiday music in the U.S. increased 27% to 8.3 billion this year, compared to a year ago, according to L.A.-based data firm Luminate.

The popularity of music streaming has helped to fuel a surge in users seeking out more holiday music, and earlier in the year.

The change has been driven by technology. In the pre-streaming era, consumers would play Christmas music through CDs and, records or catch tunes on the radio during the winter months.

But the rise of Spotify, Apple Music and other streaming services opened the floodgates by offering large libraries of songs on demand.

The new platforms created and marketed holiday playlists, making it easier for consumers to discover seasonal songs and add new ones to their own song collections.

“You used to have a bunch of Christmas albums around and rotate them through as you’re decorating the house or wrapping the presents,” said Dave Bakula, vice president of analytics and data insights at Iconic Artists Group. “The availability of all the music, all the time is such an incredible gift that streaming services have given us.”

For musicians and record labels, holiday music also has taken on growing importance.

Vince Szydlowski, executive vice president of commerce at Universal Music Enterprises, the centralized global catalog division of Universal Music Group, said he starts planning the year’s campaign for holiday music in January.

“For UMG and many of the artists that you associate with holiday music, it will be the most important time of the year, without a doubt,” Szydlowski said. “In some cases, especially with certain legendary artists, it could make or break their year.”

Artist Brenda Lee performs at the “Rockin’ Around the Christmas Tree” concert at the Country Music Hall of Fame and Museum in Nashville in 2015.

(Laura Roberts / Invision / AP)

One campaign Universal Music Enterprises worked on was promoting Elton John’s 1973 holiday song “Step into Christmas.” The song was featured in Amazon Prime Video’s holiday movie “Oh. What. Fun,” starring Michelle Pfeiffer.

John posted viral social media videos with the song playing in the background that drew more than 100 million views.

Those efforts helped boost the track’s consumption by 44% this year compared to last year, according to Universal Music Group, citing data from Luminate.

“It’s a very comprehensive campaign in which to continue to boost that track visibility among the holiday perennials,” Szydlowski said.

Many of the popular Christmas songs in the U.S. date back decades, making it challenging for new, original holiday songs to break through.

Mariah Carey’s “All I Want For Christmas Is You” has been the longest-running number one song in Billboard Hot 100 history at 21 weeks, according to Billboard.

The holidays are an important time for older artists like Brenda Lee, whose rendition of “Rockin’ Around the Christmas Tree” remains a winter hit.

In November 2023, Lee’s version of the song topped Billboard’s Hot 100 chart for the first time, 65 years after the song’s debut, making Lee, then 79, the oldest woman to top the Hot 100, according to UMG.

Then there are artists like the late Nat King Cole, known for hits like the holiday classic “The Christmas Song,” and Dean Martin, who died in 1995 and whose rendition of “Let It Snow! Let It Snow! Let It Snow!” is especially popular during winter months.

Nat King Cole in 1963. “The Christmas Song” became one of his enduring hits.

(Capitol Records Archives)

Another source of appeal for Christmas music is that it‘s timeless.

It isn’t really affected by trends and the songs highlight themes like love, hope, joy and family that remind us of our friends, family and past Christmases, said Jimmy Edwards, president of Iconic Artists Group.

“It’s the one music that you can share it together from any age. As Nat would say, from one to 92, right?” Edwards said, referencing a lyric from Cole’s “The Christmas Song.” “Those emotional bonds you have with that music stay with you forever … It promotes the best of us and all the good things. That’s why people love it so much.”

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Police say there is ‘insufficient evidence’ to bring charges after investigating comments made at Glastonbury festival.

British police have said they will take no further action over comments made by punk-rap duo Bob Vylan about the Israeli military during a performance at the Glastonbury music festival in June.

Avon and Somerset Police said on Tuesday that the remarks did not meet the criminal threshold required for prosecution “for any person to be prosecuted”.

During the performance, the group’s lead singer – Pascal Robinson-Foster, known by his stage name Bobby Vylan – led chants of “death, death” directed at the Israeli military over its genocidal war in Gaza.

Police said there was “insufficient evidence to provide a realistic prospect of conviction”. The force added that it interviewed a man in his mid-30s and contacted about 200 members of the public as part of the investigation.

The chant, which was livestreamed by the BBC as part of its Glastonbury coverage on June 28, prompted a widespread backlash. The broadcaster later apologised for transmitting what it described as “such offensive and deplorable behaviour”, and its complaints unit found the BBC had breached editorial guidelines.

Avon and Somerset Police said it had considered the intent behind the words, the wider context, relevant case law and freedom of expression issues before concluding the investigation.

“We believe it is right this matter was comprehensively investigated, every potential criminal offence was thoroughly considered, and we sought all the advice we could to ensure we made an informed decision,” the statement said.

“The comments made on Saturday 28 June drew widespread anger, proving that words have real-world consequences.”

Following the performance, the United States revoked the visas of Bob Vylan, forcing the cancellation of a planned US tour scheduled to begin in October.

Bob Vylan have launched defamation proceedings against Irish broadcaster RTE, alleging it falsely claimed they led anti-Semitic chants during the Glastonbury performance.

In July, the British police also dropped an investigation into the Irish-language rap group Kneecap after chants of “Free Palestine” during a performance.

Detectives sought advice from the Crown Prosecution Service and decided to take no further action, citing “insufficient evidence to provide a realistic prospect of conviction for any offence”.

Phil Wickham has released 14 Christian worship albums, has been Platinum certified and nominated for American Music Awards, Dove Awards, Billboard Music Awards and Grammys — but all of his vocal training and performances couldn’t prepare him to step into the shoes of one of his Biblical heroes with the upcoming animated musical film “David.”

Directed by Phil Cunningham and Brent Dawes, “David” marks the second animated film this year for Angel Studios. April’s “The King of Kings” made $60 million and is the second-highest-grossing film from the studio following “Sound of Freedom,” which made $184 million. The film hits theaters on Friday. If the release date sounds familiar, it could be because the third installment in the multibillion-dollar “Avatar” franchise, “Avatar: Fire and Ash,” is released on the same day. Presale numbers for “David” are at $15 million on 3,100 screens, but with “Avatar” tracking to open between $135 million and $165 million, and “The SpongeBob Movie: Search for SquarePants” also tracking between $13 million and $20 million, it would seem to be a true David vs. Goliaths for ticket sales.

That in itself could be daunting, but for Wickham, the biggest obstacles came long before release dates were decided. Despite playing in arenas with thousands of fans, he had a “secret dream” of voicing a character in an animated film. A character “that carried courage and faith and had some grand adventure.” But because he’d never chased that dream, he realistically put a limit on that particular goal. Even when the opportunity arose, he was hesitant when going into a casting meeting.

“I’m unoffendable. [I said to producers], if I suck, then just tell me because I don’t want to waste anybody’s time. And also, I don’t want to be bad in a movie as much as you don’t want to make a bad movie,” says Wickham.

The contemporary Christian artist, who recently finished sold-out concerts at Downey Calvary Chapel and the Wiltern, had never tried his hand at voice acting. Not only did he get the role, but he also had to help bring to (animated) life one of the most well-known stories in the Bible. The tale of David — the boy who was anointed to become the king and along the way felled the giant Philistine warrior Goliath with a rock and a slingshot — has become synonymous as the most famous of underdog representations and tests of faith in the Bible. The character and story is also one of Wickham’s favorites.

Phil Wickham always wanted to voice an animated character, especially after seeing “The Lion King.”

(Colton Dall)

“When this came across my desk, so to speak, I was just like, man, I could tell you that story, but I didn’t know if I had it in me. I didn’t know if I was a good actor. I didn’t know if I could voice a character, but I knew I wanted a shot,” said Wickham.

A curious revelation for Wickham was discovering that the singing that he’d been doing most of his life would not work on-screen, at least not for this project. He was asked to tone down things, to sometimes “talk through” lyrics and to generally make the music more dramatic for the screen.

“I thought, OK, I got this. This is why they hired me, because I’m a singer. But that ended up being the hardest part because they didn’t want me to sound like me,” Wickham said.

“Singing became a background to just being the character, which honestly, in some ways, was the hardest thing. Maybe even for my ego as as an artist.”

It was definitely a process that required lots of fine-tuning and looking at David as not just the king and hero that Wickham had grown up reading about at home and in Southern California churches. Sitting in the pews in Downey, the singer reflected on why he got into music and why Christian entertainment is on the rise.

“I found out really quick that I loved being a part of moments where people were encountering the same hope and faith that I encountered in my room alone,” Wickham said of songwriting and performing. He grew up with Christianity all around him, but has seen a spike in popularity for music and movies dealing with faith-based fandom.

“For this movie ‘David’ to come out at this time … I think that the world is looking for stuff to hope in. I think people are just searching and finding out more and more the truth that if we look around us at the world of man, we’re not going to find real solutions. So that maybe if we look up, we will.”

It is often said that film directors are siloed off from one another, that they don’t get to watch how others work. So when you put a group of them together, as with the six participants in The Envelope’s 2025 Oscar Directors Roundtable, they are quick to share all sorts of ideas. Like where they prefer to sit in a movie theater — centered in a row or on an aisle? How far back is the best for sound, or so the screen runs up to the edges of your peripheral vision? Should you even take the worst seats in the house, since somebody will eventually be asked to pay money to sit there?

Guillermo del Toro, there with his adaptation of Mary Shelley’s classic novel “Frankenstein,” likes the top of the first quarter of the theater. Rian Johnson, who finds new twists for Benoit Blanc in his third “Knives Out” detective story, “Wake Up Dead Man,” says, “I look for wherever Guillermo’s sitting.” Nia DaCosta, who made the bold, adventurous Ibsen adaptation “Hedda,” likes the top of the first third. Mona Fastvold, who explores the life of the founder of the religious movement known as the Shakers in “The Testament of Ann Lee,” likes the center a little farther back. Jon M. Chu, who made the second part of a musical adaptation with “Wicked: For Good,” sits dead center — and has been known to talk to the theater manager if the sound isn’t loud enough. And Benny Safdie, who explores the rise and fall of mixed martial arts fighter Mark Kerr in “The Smashing Machine,” tries to find a spot where he can fidget in his seat and not bother anyone.

Read on for more excerpts of their conversation about the art of adaptation, navigating budget constraints at any scale and much more.

Jon, I’ve heard you say that with “Wicked: For Good,” you wanted the film to be deeper but not darker. And it doesn’t pull any punches as far as dealing with themes of antiauthoritarianism. What was it like to have those very serious ideas and yet still have this be a buoyant, crowd-pleasing musical?

Chu: The reason we made it was because it had that meat to it, and it was always a two-movie, yearlong experience that set up the fairy tale first. And Movie 2 is kind of where we all are, this moment of this fairy tale shattered in front of us.

I have five children now, so I’m thinking about how to present stories to my kids. Do I still believe in the possibility of dreams and the American Dream? “For Good” really gets to delve into that stuff. And because it was shorter than the first half, we get more room to do it. We added new songs to explore that idea. So it all felt really fitting. Movie 1 could be an answer. Movie 2 is much more of a challenge: Who are we gonna be now that we know the truth?

All of your films in their own way are speaking to right now. Rian, “Wake Up Dead Man” is specifically set in the year 2025 and all the “Knives Out” pictures have been dealing with our contemporary reality. What makes you want to do that?

Johnson: That kind of started for me with the first movie. This is a genre, the murder mystery genre, that I love and that I’m just seeing so much of growing up. But it’s also a genre where most of what I had seen throughout my whole life, murder mysteries are period pieces set usually in a cozy little bubble of a little “Queensfordshire” place in England.

And I guess my realization was, that’s not what Agatha Christie did. She was not writing period pieces. She wasn’t an incredibly political writer, but she was always writing to her time. It’s not trying to do anything radical in terms of making it new or updating it, but let’s set it very much unapologetically in the modern moment. … You have a group of suspects that have a hierarchy of power amongst them and the person at the top they all wanna bump off — it’s such a potent vehicle for building a little microcosm of society.

Benny, one of my favorite things in “The Smashing Machine” is that it’s funny to realize setting a story at the turn of millennium is a period piece now. What was it like crafting this very specific, recent time period?

Safdie: It’s a time period that I think everybody thinks is just yesterday. But when you actually get into the nitty-gritty, it’s a long time ago. And things were very different and everybody knows exactly what those things are too. Because it was heavily documented, there was so much footage of it, it’s so top of mind. And I think a large amount of people also want to go back there a little bit, to this time where the internet was just kind of happening. People want to go back to this simpler moment. But trying to re-create what that feels like is what I was really going after — just thinking about how you would live in that time, and then represent that in the movie. Because I did want it to kind of feel like time travel.

Guillermo, you’ve spoken so much about how “Frankenstein” has been a lifelong dream project for you. Now that it’s done, where does that leave you?

Del Toro: There’s a massive postpartum depression, No. 1, and it’s real. And it affected me more than I thought it would, to be candid. But fortunately, I’ve been very interested in two new themes that are going to be sure to produce blockbusters, which is memory and regret. The dynamic duo of past 60. And I always thought about that in the abstract, but now I try to make the movies not only about the moment I’m in, but about me.

And I’m seriously trying to express what makes me uneasy, what makes me believe in the possibilities of grace even in the most horrible circumstances. And I’m not talking only social, but personal or philosophical. Something happens when the six clicks in on the counter. And all you can do is [ask], “Do I feel I have something to say, genuinely?” And then you go to that. Cronenberg, I had dinner with him when he was turning 74, and he said you have to scare yourself into being young again.

Nia, “Hedda” is such a bold adaptation of the play “Hedda Gabler.” You switched the gender of one of the main characters. You aren’t afraid to inject issues of race and class and sexual identity into the story. Were you ever concerned that you were asking too much of this classic text?

DaCosta: I wrote it on spec, so I wasn’t thinking about anything besides letting my freak flag fly, basically. I just thought, “This character makes more sense as a woman.” OK, what does that mean now? How does that affect the rest of the story? And then I just go from there. And then it ended up being really bountiful and generative.

And then when I met Tessa [Thompson] three years later, I thought, “Oh, when I write this, eventually Tessa will play Hedda.” So now she’s Black. OK, what does that mean? And Tessa’s also mixed-race. So then you get that element of it as well. And then I chose the 1950s, and then I chose England and the country house. You just treat these things as truths, and the story has to go in a certain direction. So I never worry about those things. Maybe because I’m a Black woman, so my presence or my identity for some people will complicate the story. But for me, it just is life.

Guillermo, in adapting “Frankenstein,” did you feel like you were dealing with the Mary Shelley text and also all the Frankenstein movies that we know?

Del Toro: I put all the cinematic stuff on the side. I didn’t want to make an erudite cinematic movie or a referential movie. I have lived with the three iterations of the text for my entire life. And there’s a lot of the interstitial stuff that I took from her biography, fusing with my biography, because even if you sing a song everybody knows, you’re doing it with your lungs. And your passion and your pain and your throat. … It’s the difference between seeing a living animal and taxidermy. If you just want the text, then buy the text. You cannot be more faithful to that text than reading the text. But if you want to see how we interact and resuscitate something into being emotional again, then that’s what we try to do.

Mona, “The Testament of Ann Lee” is a story told with music, but is it a musical? Is that a question you asked yourself as you were making it?

Fastvold: I consider it a musical. I do. But it’s just a different kind of musical. No one’s singing dialogue. It’s not magic when they start to sing. I think, as I was writing the script with Brady [Corbet], we realized early on it had to be a musical because the Shakers worship through ecstatic song and dance. They would be moved by the divine spirit and then receive a song or a piece of movement, and then they would start to sing and dance. Their life was a musical, so that’s what it had to be. And that was exciting to me, to create the whole structure of that.

But it couldn’t be, “OK, here’s a story and then here’s an amazing musical number.” It had to come from this place of worship. So all the musical bits and pieces of the film, our moments of feeling moved by the spirit and having this sort of religious experience, it had to be grounded in that and it had to be really organic-sounding and -looking. So we had to ground it in live recordings and create the soundscape and the music in dialogue with my choreographers. Every body slap and stomp is part of the rhythm and the music of it, because it couldn’t just be where diegetic audio fades out and then there’s this great, wonderful piece.

Chu: In a weird way, we all make musicals. All the movies, everybody has a take on how music integrates with it.

Del Toro: I was aiming for opera.

Guillermo, Jon, both of your films have a sense of scale to them. What kind of challenges does that present? Is it wrangling all the extras? Is it having the sets built on time? Jon, just the number of florists credited at the end of “Wicked: For Good” is wild.

Chu: It’s like building Disneyland, essentially. We had the warehouses going — there’s first a recording studio, so we’re recording music while their dance rehearsals are going on. You have hundreds and hundreds of people. Then you go to the costumes department and then you have the hair, just the wigs alone. People are getting there at 2:30 in the morning. And that’s before you even start the day.

We were planning two movies at the same time. So we had 20-something musical numbers rehearsed and worked with our cinematographer and our team to understand everything and build sets around these pieces. And then you get there on the day and how do I say, “Hey, all that stuff we did, this is actually happening over here. Let’s move everything over here”? I felt the hardest thing was being OK with wasting money if it was the right thing to do at that moment. I needed to feel free and had everybody aware that if I’m moving all of a sudden, we’ve got to go and we’ve got to figure it out. And I think that’s where the magic is.

Del Toro: To me, it’s three things. The first one is tonal, meaning everything that you do, you’re not doing eye candy, you’re doing eye protein. You’re telling a story. So it’s not about looking good or looking big. It’s about, does the gesture happen at the right moment? Because you can make gestures on the wrong moment of the film, and they don’t have a dramatic impact. I say we designed the movie for the Creature to feel real, of a piece with the world. So that’s the first one.

The second one: Is it expressing something different every time we go to a bigger thing? It’s not about the scale. And the final one to me is, does it feel real in the world? So the way I go at it is, there’s no typeface, no paint, no photograph, nothing, that cannot be investigated and designed to within an inch of its life. Even great movies, I’m very fidgety. I go, “That’s not a painting from the 1930s. Somebody painted it much later.” Or a typeface or a carnival banner or something like that. So at the end of the day, if you do your job right, you have a world and people just get into it almost like a vibe. Nobody should notice, but if you do it right, they want to experience it over and over again.

Rian, you make a really bold decision in “Wake Up Dead Man,” where the signature character of the series, Daniel Craig’s Benoit Blanc, is offscreen for much of the first 45 minutes or so of the movie. Did you have to convince people that’s the way things should go?

Johnson: Not really. For this one, first of all, it is a little closer to actually a traditional detective structure. That’s kind of how most Agatha Christie books work, is you meet the suspects in the first act. You get a very good idea of who’s gonna get bumped off. And then, end of the first act, the murder happens, and then the detective shows up and starts to solve it. So there was a precedent for it. But the real reason I had done backflips in the previous two movies to get around that was so we could get Blanc in there earlier. The reason it made sense for this [is] because Father Jud, who’s played by Josh O’Connor, [is] kind of the protagonist of it because of the themes of religion, and so the whole lay of the land was more complicated and delicate in this one to set up. I felt like the audience would be best served by having that runway and getting the time before this powerhouse that is Daniel playing Benoit Blanc comes in and brings this whole new energy to it.

The other thing that I’ve landed on with them is you have to constantly resist the candy of the mystery. You have to always remind yourself [that] the mystery elements are not a load-bearing wall, that those are never going to keep an audience entertained or engaged. You need to do the same thing you do in any movie where you have an emotional, bold line going that’s thrown at the beginning, that lands at the end. And the mystery then has to support that.

Mona, with “Ann Lee,” but also with “The Brutalist,” it seems like the movies that you and Brady Corbet are collaborating on together, you’re doing so much with relatively limited resources. What is it that the two of you are doing in these films that you’re able to make them seem so grand?

Fastvold: I mean, there’s no trick. I had to prep for almost a year for this one, because I knew that no one was going to give me a lot of money to make a musical about the founders of the Shakers. It was not gonna be this sexy pitch. It was a hard pitch. So I knew that it was going to be a limited budget. But at the same time, I just desperately wanted “Ann Lee” to have a really grand story. And I wanted there to be a believable, lush world. And I wanted to tell a story about her whole life, not just a day in her life.

So I had to make it work somehow. It was so much about saying, “OK, I’m working with my [director of photography], my production designer, my costume designer every weekend and night for months and months before we started official prep. And same with my choreographer and composer and with all of the cast as well, just rehearsing. Amanda [Seyfried] was rehearsing at night while she was shooting something else. She would go and have dance rehearsals at night, on the weekends, so we could keep on adjusting.

So the only way that I could, to quote David Lynch, get dreamy on set, which was something I really wanted, was by having so much prep time, and then just really knowing what my Plan A and B was, and to sort of experiment in advance more. And because I knew there’s no way that you can try and build a world and then have the same flexibility on this budget, it’s all about knowing every line item in my budget, what everything costs in Hungary, what everything costs in Sweden. “OK, this is how much a cherry picker in Hungary costs, and therefore I’m gonna take out two shots and only build half the roof.”

The 2025 Envelope Directors Roundtable. Top row, left to right: Rian Johnson, Benny Safdie, and Mona Fastvold. Bottom row, left to right: Nia DaCosta, Jon M. Chu and Guillermo del Toro.

Chu: I think that’s one of the biggest lessons I learned being a director. You don’t have a right to make your movie, because it costs so much and you need so much help. You do have to earn the right to make your movie. That is a part of our job.

Nia, you come to “Hedda” having just made a Marvel movie. You’ve just also finished a sequel to “28 Years Later.” Is there a secret through line for you that connects all these projects?

DaCosta: Being a nerd, Marvel, horror, comic books, for me, those things that I’ve done that I haven’t written are worlds that I loved as a kid. So “Candyman” was hugely important to me when I was younger. I used to love Marvel comics as a kid. “28 Days Later” is one of my formative films that I watched. And so when the opportunities came up to be a part of those worlds, it was really exciting for me. And then “Hedda,” I’m a theater nerd too, so I just really go by my passion, and I’m really compelled by just interesting characters.

“Hedda” and “28 Years Later” are very different films, but for me, they were so similar because I learned from my experience jumping into the studio system after making a sub-million-dollar movie [“Little Woods”] what works for me and what doesn’t work for me. And what works for me is really being given authorship. And so I’m setting the tone early. We’re not here to battle. We’re here to make the vision that I have. And if you’re into it, cool and great, let’s work together. If you’re not into it, then it doesn’t have to exist or I’ll find another way for it to exist.

Del Toro: The ambition should always be beyond the budget. If they give you $130 [million], you want to make a movie that is $260 [million]. But the way to that I found by doing “Devil’s Backbone,” which is $3 million, or “Shape of Water,” which is $19.3. “Shape of Water” opened with all the different sets in the first 15 minutes. And then it’s two sets. Lab, apartment, lab, apartment, lab, apartment. I always tell the departments, let’s choose meatballs and gravy. Where do we put the real resources? You reach a plateau no matter what the budget. Never spend money on a plateau. It always needs to mean something.

Safdie: You pick and choose the moments when you’re gonna get big. We were doing the hospital scene and then we built the plane in the hallway of the hospital. Because that was the most affordable. But there was a column in the middle of the plane, and I would always joke that we should go through the column. I find those limitations exciting. Because you really have to figure it out.

Rian, “Glass Onion” had a more robust theatrical release than “Dead Man” has gotten. Do you feel like as filmmakers that all of you are being put in this position of fighting for the future of theaters and moviegoing?

Johnson: I actually feel incredibly optimistic at this moment about the future of moviemaking. I don’t feel that way because we’re all picking up signs and marching down the street and preaching to people that they need to keep this sacred. I feel optimistic about it because I go to movie theaters and I see them packed with young people who want to go to movie theaters and have that experience.

And I see them coming out for new movies. I see them at revival cinemas. I see theaters at 2 p.m. on a Tuesday showing a Melville film that are just full of young people who are excited. And then you see it with movies that have come out this year. You see it with something like Ryan [Coogler]’s movie, “Sinners,” or with so many films that have struck chords with audiences and created cultural events. You can’t wag your finger at people and say, “You should be going to the theater and having this theatrical experience,” but you feel it rising right now. And so for me, it’s less that I want to advocate for it. It’s more that I want to ride that wave of it coming up.

De Los recently did a team huddle to determine our personal list of best albums, as well as our favorite songs released in 2025. This is not another garden variety Latin genre list, but a highlight reel of 2025 releases that showcases artists from Latin America and the diaspora.

20. Selena Gomez and Benny Blanco feat. the Marías, “Ojos Tristes”
Released months before their highly-publicized wedding in September, “I Said I Love You First,” the album by multi-hyphenate superstar Selena Gomez and hit songwriter-producer Benny Blanco, was first conceived from nights spent perusing each other’s vintage record collections. Gomez resonated with the spectral 1982 ballad “El Muchacho de Los Ojos Tristes,” as originally recorded by the O.G. sad girl en español, Jeanette. After seeing the Marías in concert, the couple hit up the band to further maximize their joint slay — and revamp the classic as a bilingual dream-pop track, simply named “Ojos Tristes.” It not only topped the Billboard Hot Latin Songs chart, but it introduced a new generation to Jeanette’s timeless allure. —Suzy Exposito

19. JR Torres, “Desde Abajo Vengo”
It never fails: True to its ever reliable, unassuming ethos, the genre of música mexicana invariably delivers some of the year’s most gorgeous tunes. The melody on this two-minute single by Culiacán, Sinaloa, native JR Torres is a pearl of astounding purity, a theme developed alternately by the accordion and vocal line, and one that — like so many norteño hits — conveys an ocean of longing. The lyrics belong to the himnos de superación canon: a self-taught man outlines his road to success, paved with honesty, resilience and hard work. But it is the music itself that cements “Desde Abajo Vengo” as a Mexican classic for the ages. —Ernesto Lechner

18. Juana Rozas, “WANNA HOTEL”
Juana Rozas understands the emerging queer Latin underground, in all of its swirling genre hodgepodge, better than most. Her album “TANYA” is an unrestrained porteña whirlwind, rapidly shifting between industrial, electroclash, and doom metal, with all of these disparate influences coalescing on the highlight track “WANNA HOTEL.” The song splits the difference between atmospheric trap heaven and hardstyle hell, placing you squarely in a warehouse mosh pit. It’s vertigo-inducing sonic whiplash, complete with thumping techno and copious nose drugs. You can try to head to the hallways for a breather, but it feels better to be in the depths of Rozas’ debauchery. —Reanna Cruz

17. Macario Martinez, “Sueña Lindo, Corazón”
There isn’t a better feel-good story this year than Macario Martínez’s unexpected rise to fame. The Mexico City native and now former street sweeper went viral in January after uploading a TikTok video that showed him riding in the back of a sanitation truck at night. Soundtracking it is a snippet of “Sueña Lindo, Corazón,” a tender, stripped-down folk lullaby for a wounded heart. The clip included the following caption: “Life asks for a lot and I’m just a street sweeper who wants you to listen to his music.” Listen they did. The video has been viewed tens of millions of times and was shared by the likes of Harry Styles. turning Martínez into one of the most promising rising talents in Latin music. —Fidel Martinez

16. Dareyes de la Sierra, “Frecuencia”
The opening line of “Frecuencia” — “Yo sé que voy a morirme por eso bien loco vivo” (“I know I’m going to die, that’s why I live crazily”) — hits a little bit different once you learn that singer José Darey Castro survived an attempt on his life in 2004. Don’t let the usage of traditional música Mexicana instruments fool you; the cadence of this braggadocious track about hedonistic excess and indulgence is closer to hip-hop. With “Frecuencia,” and the album it comes from (“Redención,” which translates to “Redemption”), the regional veteran with more than two decades of experience under his belt proves that it’s never too late to reinvent yourself. —F.M.

15. Cuco, “Ridin’”
For his third studio album, “Ridin’,” Cuco said he wanted to embody the timelessness of Chicano soul without being derivative. “I wanted to go for more natural sounds with the soul sound, but I think it’s just inevitable for me sometimes,” the 27-year-old multi-instrumentalist from Hawthorne told De Los this summer. “I’m just going to end up doing some psychedelic parts with the music because that’s what I’ve always been.” This happy marriage of influences is most apparent in the LP’s titular track, which starts off feeling like you’re cruising with your sweetheart down a Southern California highway in a 1964 Chevy Impala before taking off into space. —F.M.

14. Mon Laferte, “Las Flores Que Dejaste En La Mesa”
Recently, Mon Laferte told me that she was especially proud of a verse in this song where she rhymed the description of a former lover’s erection with the word architecture. The juxtaposition of poetic wordplay with graphic sexuality is one of the Chilean singer’s favorite devices — here, it adds a frisson of decadence to a lush orchestration reminiscent of John Barry’s 007 themes. A key track off Laferte’s noirish “Femme Fatale,” “Las Flores Que Dejaste En La Mesa” takes off with the quiet longing of bossa nova, boils into unhinged bolero territory, then incorporates the icy electro loops of trip-hop icons Portishead. Still, the heart of the song is Laferte’s vocal performance — wounded and incandescent. —E.L.

13. Planta Industrial, “Oi”
Hilariously named “Punkwave Sin Barreras” — a nod to the ESL learning series “Inglés Sin Barreras” — the debut EP by the Bronx Dominican duo Planta Industrial is a generous helping of punk rock, darkwave and dembow fusion. The project is powered by high school friends turned rappers, who go by the names A.K.A. The Darknight and Saso (recently featured on the song “Caribeño” with Rauw Alejandro). On “Oi,” a clever stand-in for the word “hoy,” the duo deploy frenetic breakbeats, Ramones-style gang vocals and a touch of Toño Rosario freakness to demand their dues from a cheapskate boss. “F— you, pay me, “ chant the MCs. “Mañana, no — oi oi oi!” —S.E.

12. Six Sex feat. MCR-T, “Bitches Like Me”
This year, Argentina established itself as the Latin rave epicenter, with Six Sex leading the charge. Alongside Berlin-based club DJ MCR-T, and a propulsive synth line from Kylie Minogue’s “Can’t Get You Out of My Head,” the Buenos Aires baddie crafts one of the chicest earworms of the year. The beauty of using one of the best pop melodies of all time is that it’s already engineered for success, so MCR-T keeps it simple and silly with the addition of a thumping, four-to-the-floor beat. It plays out like a drunken freestyling session in your coolest friend’s apartment — with lines like “you are not that bitch” delivered with a heavily-accented affectation that feels seductive, but more importantly, unbothered. —R.C.

11. Rosalía feat. Yahritza Y Su Esencia, “La Perla”
Although the Spanish singer would be ineligible for this list on her own, Rosalía’s diss track “La Perla” — a scathing, ranchera-style ballad dedicated to a certain pretty boy ex with a sizable collection of other women’s bras — shines bright among her otherwise sparkling collection of orchestral pop songs in “Lux.” Rosalía wisely recruited the swooning Mexican American sierreña trio, Yahritza Y Su Esencia, to help her better emulate a Paquita La Del Barrio dress-down of a lover gone astray. The spirit of “La Perla” articulates not what it sounds like to be loved Mexicanly, but to be loathed Mexicanly — á la Catalana. —S.E.

10. Netón Vega, “Me Ha Costado”
Netón Vega’s sprawling debut album “Mi Vida Mi Muerte” makes a formidable attempt to define the rapidly-shifting sound of corridos tumbados, courtesy of one of the genre’s eminent songwriters. On “Me Ha Costado,” Vega, who hails from Baja California Sur, combines blown-out 808s with a G-funk whine to create a pan-Californian posse track. There’s an overload of shot-calling swagger dripping from every section here, from Alemán’s bouncing hook to Victor Mendivil’s shoutouts to San Andrés and Mazamitla. If you close your eyes, you could see the trio’s lowrider rolling down Whittier Blvd, with all three mischief-makers hanging out the windows. —R.C.

9. Cardi B, “Bodega Baddie”
I am tired of celebrities pretending that they go to the bodega for street cred: “if you know, you know.” One thing about Cardi B, though? I believe she remembers where she came from. “Bodega Baddie” is a bilingual ode to the Bronx’s Dominican enclaves where Cardi From The Block spent her childhood. It’s less than two minutes long, but moves at such a breakneck pace that if you close your eyes, you’re transported outside a deli on Dyckman on a hot summer day — where the fire hydrants are open, 808s are shaking storefront windows, and the whole block is outside. It’s some of the most electric mise-en-scène this year, anchored by a sample of Magic Juan’s “Ta Buena (Tipico)” merengue. —R.C.

8. Kali Uchis, “Sugar! Honey! Love!”
The Colombian American soulstress has played many roles in her songs: a baddie, a psychic, a woman adrift at sea in a yellow raincoat. But in the making of her 2025 album “Sincerely,” she explored the profound vulnerability of becoming a mother — and her sighing revelations in “Sugar! Honey! Love!” melt most beautifully into the hazy pop ether. “I was already an emotional person, [but] since my pregnancy I’ve been able to feel a lot deeper,” she told De Los in May. “When your child is born, you’re reborn in a lot of ways. It’s a death and a rebirth of yourself. But I think a lot of joy and hope comes with that.” —S.E.

7. Adrian Quesada feat. Angélica Garica, “No Juego”
At the start of “No Juego,” we hear the sound of tape being rewound, as if to suggest that we’re about to listen to something from a different era. Sure enough, the psychedelia of the keyboard, guitar and drums transports us to the late 1960s, only to be brought back to the present by the self-assured delivery of vocalist (and El Monte’s own) Angélica Garcia. “No vine pa’ pedir permiso,” she briefly raps (“I’m not here to ask for permission”), before throwing theatrical vocal daggers at a former lover who couldn’t stay true. She’s letting us know that we’re in her world and she’s not playing around. “No Juego” is easily the crown jewel of “Boleros Psicodélicos II.”—F.M.

6. Ca7riel y Paco Amoroso, “#TETAS”
Sometimes a song is only as successful as its concept. On “#TETAS,” the Argentine trickster gods Ca7riel y Paco Amoroso try to reverse-engineer a pop anthem, ChatGPT buzzwords and all. A flippant listener could dismiss “#TETAS” as just a winking novelty song — after all, what “serious” track contains a character named Gymbaland, the lyrics “let me be your Chad,” and a post-chorus counting dabs? The thing is, though, between the slinking bass line, the massive 80’s Yamaha pianos, and a final key change that soars through the ceiling, the song becomes the exact pop anthem that they’re trying to satirize. “This is a f— smash,” go the final lines of the song. We’re inclined to agree. —R.C.

5. Silvana Estrada, “Como Un Pájaro”
As we compiled the songs for this list, we struggled selecting just one track off Silvana Estrada’s stunning second album. At 28, the singer-songwriter from Veracruz informs her work with a level of maturity that most artists won’t achieve in a lifetime. Like most of the cuts in “Vendrán Suaves Lluvias,” “Como Un Pájaro” draws from the wisdom of the trova movement; enamored with the immediacy of stringed instruments, chronicling the process of healing using metaphors from the natural world. The song’s climax — Estrada’s lustrous voice intertwined with a swelling orchestral arrangement — will probably bring tears to your eyes. Fun fact: In concert, she reproduces the lilting whistled interlude to perfection. —E.L.

4. Astropical, “Fogata (Leo)”
Following a memorable performance at the Hollywood Bowl last summer, it became apparent that Astropical, the supergroup formed by members of Colombia’s Bomba Estéreo and Venezuela’s Rawayana, will probably never reconvene again. We’ll always have “Fogata,” though — a song about holding on to the precious moments of bliss when confronted with the ephemeral nature of… well, everything. The track combines the warmth of a beachside bonfire with slick, Afrobeats-soaked grooves. The stars of the show? The honeyed harmonies of Li Saumet and Beto Montenegro, now intertwined until the end of time. —E.L.

3. Isabella Lovestory, “Telenovela”
Who among us hasn’t thought — whether it be ironically or authentically — “my life is a movie?” Isabella Lovestory takes it one further: her sexcapades, in all their glamour and drama, are worthy of their own telenovela. Much of her sophomore album “Vanity” has main character energy, and Lovestory’s “Telenovela,” with its extended metaphors of Barbarella bad bitches, “tragica erotica,” and using “su lengua pa cambiar el canal” is the descriptive centerpiece. If it doesn’t bring a flush to your cheeks, you’re not listening hard enough; the way she coos “uy-uy-uy” will linger the next time things get a little hot and heavy. —R.C.

2. Fuerza Regida, “Marlboro Rojo”
If I sit on the porch of my Boyle Heights home for 15 minutes, I guarantee you that a pickup truck will eventually drive by playing a corrido at a window-rattling volume. For the last six months, the song of choice blasting from the blown out speakers of these mamalonas has been “Marlboro Rojo.” I get it. The track is so unapologetically — ugh, cringe word, I know — Mexican. What better way to announce your presence than with the boom boom of the sousaphone? 2025 was a marquee year for música Mexicana and no one was more on top of their game than Fuerza Regida. My personal favorite version of this song is from the Apple Music Live concert taped earlier this summer at Mexico City’s GNP Stadium. Hearing the tens of thousands of fans singing the chorus back to JOP gives me chills. — F.M.

1. Bad Bunny, “Baile Inolvidable”
Is there a Bad Bunny record that’s not a love letter to his native Puerto Rico? His 2025 juggernaut, “Debí Tirar Más Fotos,” however, goes far beyond the usual motherland worship; the album’s greatest takeaway is to cherish not just the place, but the people you call home, too. Invoking the feverish, tropical melodrama of salsa titans past and present, Bad Bunny delivers one of his most tremendous vocal performances — powered by his enduring love for a woman he used to know, comparing her to an unforgettable dance. But it’s just like Benito to cut through the gravitas of his own song by lauding an ex for her sexual prowess — namely, her boquita — but his magic as a hit songwriter is most potent in verses that oscillate between the sacred and profane. —S.E.