music

ALFIE Boe – one of the nation’s favourite tenors – will be unleashing his inner rock god on new album Face Myself.

The record, out on April 10, is inspired by his love of the Madchester era and was produced by Myriot, who previously worked with Primal Scream.

In an exclusive chat, Alfie revealed the album’s title track pays tribute to late Stone Roses bass player Gary “Mani” Mounfield.

The classical singer said he spent his weekends travelling up to Manchester as a teenager to immerse himself in the music scene, where the Stone Roses launched hits such as I Wanna Be Adored. Alfie said: “At the time I was writing that song, Mani passed away.

“So I had to put a tribute in the song. I changed the lyrics to say, ‘For good old Mani, he played it right’.”

The high-energy track, which is released today, also name checks Liam and Noel Gallagher’s childhood home on Cranwell Drive and celebrates the Madchester spirit.

STOP RIGHT NOW

Spice Girls anniversary reunion CANCELLED as group fail to agree on plans

PINK PLAYS BALL

Pink lands historic multi-million pound residency at Las Vegas’ Sphere

On the track he sings: “Dreams are grown in Burnage sky, a golden past that made us cry.

“The prom is glorified with lights, for good old Mani, he played it right. Those Cranwell boys, they sang along.”

As a teen, Alfie, who has clocked up 12 Top Ten albums including four No1s, joined an indie band and later found himself exploring classical music.

“I was in an indie band called The English Roses,” Alfie said with a laugh. We were going to go on tour and I was going to be the drummer. But there was school to attend, which was fine, but then I joined lots of other little bands.”

Alfie’s new album is made up of mostly original material and he was inspired to start writing by his pal, The Who’s Pete Townshend.

And the Les Miserables stage fave says the record is all about facing his past, adding: “I thought, what is it about me I have to face?

“It was my childhood, my teenage years, and what got me to where I am today. It’s been a wonderful journey.”

Dua’s full of beans

Dua Lipa has a hefty cheque coming her way, plus a lifetime’s supply of coffee I imagine.

She’s signed up to be global ambassador for Nespresso and posed in blue co-ords to promote the new tie-in. Dua also had a snap with George Clooney, long-time face of the brand.

Greg heading to £2m…but pleads for Wills’ help again

Greg James continues his mammoth 1,000km cycle ride for Comic Relief after getting the royal seal of approval from Prince William.

He was given a boost on Tuesday, when the Prince of Wales hopped on the back of the Radio 1 DJ’s tandem.

As I caught up with Greg yesterday from the Yorkshire Moors, he said he wished William had stuck around.

Greg, resting up on a wall, below, said with a laugh: “I could’ve done with his legs today. Wills, if you’re reading this, help.”

He has remained incredibly upbeat despite the physical and mental toll the challenge is taking.

And he has been buoyed by the incredible donations from the public, which last night was creeping towards the £2million mark. Greg, who set off from Dorset last Friday and is pedalling all the way to Edinburgh, said: “The hills are very, very difficult today.

“But there was a really nice crowd of people shouting at me at the top.

“The good news is we’ve raised over £1.5million, which is an absurd amount. I’d be happy with that if it was the final total but we’ve got three days left.”

He starts his ride from Sunderland this morning with two full days to go.

Tomorrow he will begin his final push, cycling from Galashiels in the Borders to Edinburgh, where he is set to arrive in time for Comic Relief to start on BBC One at 7pm. You can do this, Greg!

Go to comicrelief.com/ride to make a donation.

Placebo are making a comeback for the 30th anniversary of their debut album, which they have reworked into a new version.

Placebo re:created will be out on June 19.

They will then kick off a European tour this September playing songs from their first two albums, with dates in Nottingham, Glasgow, Dublin, Manchester, London and Cardiff in November and December.

Big cat in Africa

Doja Cat showed her wild side in clashing animal prints while on stage in Rwanda.

The Say So rapper, who wore a blue wig with a tiger-striped bodysuit, was performing at Global Citizen’s Move Afrika concert.

She sounded great, despite her carefree lifestyle.

In a new interview with Vogue yesterday, Doja admitted she’s had to curb bad habits for the sake of her live shows.

She said: “I love trash – I’m Oscar the Grouch. I love to eat garbage, and I love to drink, and I love to party.

“Not too hard, obviously. I don’t do any drugs.”

Doja, who had a romance with actor Joseph Quinn in 2024, went on to reveal she is a serial dater, adding: “I’m 30, so I’m ovulating and horny.”

At least she tells it how it is.

Mosh-pit memories with trust

The Teenage Cancer Trust is staging a photo exhibition at the Royal Albert Hall to mark the joys of mosh pits.

Musicians including Yungblud, Wolf Alice, Fontaines DC and The Sex Pistols ft Frank Carter are featured in the show, called Good Energy.

It highlights “good energy”, which is the code used by fans to look after each other in the crowd. Frank said of his pic: “It was taken in the Royal Albert Hall.

“To play there with the Sex Pistols was a dream come true. Seeing a mosh pit inside such a venue felt like the definition of Good Punk Energy.

The exhibition runs until April 9. Buy signed copies of the prints at teenagecancer trust.org/good.

One direction’s Louis Tomlinson confessed the band’s debut No1 single, What Makes You Beautiful, was his least favourite track. He told Scott Mills’s Radio 2 show: “Performing it was always really eggy.”

Louis also took aim at the handling of 1D’s split, adding: “Hiatus, what a horrible word. It’s cringey, screams management.”

Princess is really made up

Harper Beckham has competition from another nepo baby when it comes to her upcoming beauty brand – Katie Price and Peter Andre’s daughter Princess.

The Sun told last week that Harper had taken part in a photoshoot for beauty brand Hiku by Harper, which is expected to launch in the coming months. Now Princess is following suit.

She said on the Not My Bagg podcast: “I’ve been working on it for ages. I was in Liverpool three days ago.

“I went up for a photoshoot for my beauty brand, which is so good. It’s being released this year.

I’m so excited. I’ve always wanted to be involved in some sort of business. Make-up, I love, so it had to be that.”

Here’s a hot take: South by Southwest is a Latin music festival.

When the De Los team headed to Austin, Texas, in 2024 to cover the event for the first time, approximately 60 acts that fell under the expansive Latin music genre umbrella had been invited to perform. Two years later, that number has more than doubled, with more than 150 Latin music acts featured at the iconic festival, now in its 40th year.

“Latin music has seen incredible growth at SXSW in recent years, reflecting its rise across the global music industry,” said Evelyn Gómez Rivera, associate programmer for Latin music. “2026 is shaping up to be our biggest year for the genre in over a decade, with several major labels showcasing their newest and most exciting Latin talent here.”

Ahead of the festival, which kicks off Thursday, the De Los team has assembled a list of acts that have caught our attention. And before you blow up our inboxes asking why the big acts (Fuerza Regida and Junior H are also slated to perform) weren’t included, keep in mind that what makes SXSW unique is that it’s a chance for attendees to see the next big thing before they blow up. In that spirit of discovery, our list is made up of acts you might not have heard of.

Big Soto

“Terminé siendo rapero cuando quería ser doctor,” Gustavo Rafael Guerrero Soto, better known as Big Soto, confesses in his pandemic-era collaborative session with Argentine mega-producer Bizarrap. It’s safe to say that he made the right career move. The 29-year-old from Venezuela (he now lives in Mexico) is signed to Rimas Entertainment and has been at the forefront of the Latin trap movement. — Fidel Martinez

Mariangela

Mexican-born singer Mariangela started off as a tender pop darling when she first uploaded covers to her YouTube channel in 2019, drawing inspiration from indie-pop singers like Carla Morrison and Mazzy Star’s Hope Sandoval before releasing her alt-pop debut album “Sensible” under Sony Music Latin in 2024. Now the Texas-based artist is taking her musical stylings in a new direction, drawing from her Monterrey roots with the release of her latest “Cuando Una Mujer,” a cumbia norteña about fierce female empowerment. — Andrea Flores

Esty

First-generation Dominican American singer Esty doesn’t like to be boxed in. From one track to the next, she’ll shift from a mix of dembow and alternative rock to bachata and pop, as seen in her recent single “V3n3n0,” from her upcoming album, “Domi Star.” — Cat Cardenas

Marilina Bertoldi

De Los contributor Ernesto Lechner is 100% responsible for this entry — he included the avant-garde alt rocker from Buenos Aires in his 2025 list of indie artists who deserved to win a Latin Grammy, calling her “the resident hurricane of Argentine rock, blessed with a corrosive sense of the absurd, a knack for pop-punk melodies, and attitude to spare.” How could you not want to see that? — FM

Ruido Selecto

Hailing from Medellín, Colombia, Ruido Selecto drives forward the Caribbean rhythms of cumbia, salsa, electronic dub and Afro-diasporic styles that have been traditionally transmitted through Picós, hand-painted sound systems popular throughout the country’s coast. His hybrid mixes also include elements of sonideros, most audible in tracks like “Lo Que Esconde.” I’m fascinated by his attention to detail in his project “Los 14 Cañonazos Bailables,” where he created experimental and contemporary tropical mixes using archives from Discos Fuentes, a Cartagena record label largely responsible for disseminating 1960s Caribbean sound across the coast of Colombia. — AF

Delilah

The Mexican American singer got her start in mariachi, eventually learning piano, guitar, violin and vihuela. At just 17 years old, her impressive vocals and ability to mix traditional and contemporary Mexican music have already gotten the attention of artists like Becky G and Iván Cornejo. — CC

Danny Felix

Among the biggest feathers in Danny Felix’s hat is being the producer behind the “Soy el Diablo (Remix),” a Natanael Cano track that also doubled as Bad Bunny’s first venture into the world of música mexicana. The Phoenix-based multihyphenate (in addition to producing, he is also a multiinstrumentalist and singer) has played a major role in shaping the current sound of corridos tumbados and will be repping the subgenre in Austin. — FM

60 Juno

Originating from Merced, Calif., this Central Valley post-punk band radiates a hazy, dreamlike sound, so much that one of their most popular tracks is titled “zzz.” While 60 Juno initially began as a solo project led by Jericho Tejeda in his bedroom during the pandemic, it has now expanded to include three additional members from Whittier, Calif. There’s a bit of everything in this band, mellowed surf-rock wading into punk territory that can be heard in songs like the upbeat “Enjoy the Sunset” and their most popular, hypnotic track to date, “J Song.” — AF

RIA

Before she stepped into the spotlight, Ria was writing songs for other artists. Now, she’s combining her knack for emotional lyricism with her soulful voice, recently opening for Tito Double P in Mexico, and breaking out with her recent single, “Pagana.” — CC

Sebaxxss

Sebaxxss is the on-tour DJ for Feid, the pop reggaeton singer and fellow Colombian. I’m interested to see how his set translates into a smaller, more intimate venue. — FM

Diles que no me maten

Diles que no me maten is an experimental, psychedelic rock band from Mexico City named after the famous short story by Mexican author Juan Rulfo about a man who pleads for his life after being captured for killing his neighbor decades earlier. If listeners didn’t know any better, they would think this band started in the late 1980s during the rise of homegrown rock, with its untouched vocals in songs like “Outro.” Tracks like “El Circo” sound like a gentle birth, while “(Radio Sonora Edit)” presents itself as a ghostly acoustic jazz ballad. — AF

Eydrey

Since competing on Netflix’s Latin music competition show, “La Firma,” in 2023, Eydrey has landed a record deal and released a steady stream of R&B, Mexican and reggaeton-infused tracks. Her borderland upbringing in El Paso has also shaped her Spanglish lyrics. — CC

Lena Dardelet

Hailing from Cabarete, Dominican Republic — the same beach resort town is home to the Bachata Academy, the only bachata school in the world — Lena Dardelet fuses pop with various Caribbean genres, including— yep, you guessed it — bachata. — FM

Mosmo

Signed with Rimas Entertainment, Hermosillo singer Mosmo is bringing his own crooning element to the corrido world. The rising singer first came into the spotlight in 2022 on Netflix’s “La Firma,” a competition looking to find the next Latin urban music star. Mosmo’s raw, drawled vocals can be heard in the romantic bélico “Modo B” and the agonizing “Terapia” that implores a past lover for their return. Mosmo also incorporates elements of trap and reggaeton in songs like “Dimensiones,” as well as pop in the bilingual track “Siempre Tú.” — AF

Selines

Inspired by artists like Natalia Lafourcade, singer-songwriter Selines’ guitar-based songs draw on the traditions of boleros, classical music and jazz, bringing a warm nostalgia and romance to her sound. — CC

Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.

Back in the early 2010s, the music industry was at a low point.

Piracy was rampant. Compact disc sales were on a steady decline. And the then-new audio streaming services, like Spotify, were taking hits from creators for paying low royalty rates.

Today, Spotify has grown into the world’s most popular audio streaming subscription service and the highest-paying retailer globally — paying the music industry over $11 billion last year. The Swedish company said in a recent post that the payouts aren’t strictly going to ultra-popular artists, but that “roughly half of royalties were generated by independent artists and labels.”

“A decade ago, a lot of the questions were really fair. Spotify had to be able to prove out if it could scale as an economic engine. People didn’t know if streaming would scale as a model,” said Sam Duboff, Spotify’s global head of marketing and policy of music business.

Duboff said Spotify’s payouts aren’t “plateauing — we’re still growing that royalty pool on Spotify more than 10% per year.” He credits the streaming platform’s growth to “incentivizing people to be willing to pay for music again” by providing personalized experiences and global accessibility.

The company, founded in 2006, serves more than 751 million users, including 290 million subscribers, in 184 markets.

“The average Spotify premium subscriber listens to 200 artists every month, and nearly half of those artists are discovered for the first time,” Duboff said. “When you build an experience where people can explore and fall in love with music, it inspires them to upgrade to premium and keep paying.”

The platform offers a wide variety of playlists, curated by editors like the up-and-comer-driven Fresh Finds or rap’s latest, RapCaviar. There are also personal playlists generated for users, such as the weekly round-up Discover Weekly and the daily mix of tunes called the “daylist.”

The streamer considers itself the first step toward “an enduring career” for today’s indie artists. Last year, more than a third of artists making $10,000 on the platform in royalties started by self-releasing their music through independent distributors.

“Streaming, fundamentally, is about opportunity and access. It’s artists from all over the world releasing music the way they want to and reaching a global audience from Day One,” Duboff said. He adds that when fans have a choice, they will discover new genres and music cultures that may have otherwise languished in obscurity.

In 2025, nearly 14,000 artists earned $100,000 from Spotify alone. The streamer’s data also show that last year the 100,000th highest-earning artist made $7,300 in Spotify royalties, whereas in 2015, an artist in that same spot earned around $350.

The company, with a large presence in L.A.’s Arts District, emphasizes that the roster of artists on its platform who earn significantly more money — well into the millions — is no longer limited to the few. A decade ago, Spotify’s top artist made around $10 million in royalties. Today, the platform’s top 80 artists generate over $10 million annually. Some of 2025’s top artists globally were Bad Bunny, Taylor Swift and the Weeknd.

Spotify claims those who aren’t household names can earn six figures, with more than 1,500 artists earning $1 million last year.

For some musicians, the outlook is not as clear

Damon Krukowski, a musician and the legislative director for United Musicians & Allied Workers, argues that Spotify’s money isn’t necessarily going to artists — it’s going to their labels.

Those without labels usually upload music through distributors such as DistroKid and CD Baby. These platforms charge a small fee or commission. For example, DistroKid’s lowest-level subscription is $24.99 a year, and the site states users “keep 100% of all your earnings.”

”There are zero payments going directly to recording artists from Spotify,” Krukowski asserts. “Recording artists deserve direct payment from the streaming platforms for use of our work.”

The advocacy group, which has mobilized more than 70,000 musicians and music workers, recently helped draft the Living Wage for Musicians Act to address the streaming industry. The bill, introduced to the U.S. House of Representatives last fall, calls for a new streaming royalty that would directly pay artists a minimum of one penny per stream.

In the Q&A section of Spotify’s Loud and Clear website, the streamer confirms that it “doesn’t pay artists or songwriters directly. We pay rights holders selected by the artist or songwriter, whether that’s a record label, publisher, independent distributor, performance rights organization, or collecting society.”

Instead of following a penny-per-stream model, Spotify pays based on the artist’s share of total streams, called a “streamshare.”

“Streaming doesn’t work like buying songs. Fans pay for unlimited access, not per track they listen to,” wrote the company online. “So a ‘per stream’ rate isn’t actually how anyone gets paid — not on Spotify, or on any major streaming service.”