pop

Music fans at Stockholm airport couldn’t believe their eyes when the popstar they were travelling to see boarded the same flight to Helsinki, and she wasn’t even flying first class

Music enthusiasts in Stockholm, Sweden, were left stunned whilst awaiting their flight to Finland after discovering a very special passenger was also waiting to board the same flight.

It’s hardly uncommon for music lovers to journey far and wide to catch their beloved bands and artists performing live. Whether it’s a trip to a neighbouring city, across the country, or to an entirely different country, no distance appears too far for devoted fans, who frequently use concerts as an opportunity to explore new destinations. What they certainly wouldn’t anticipate, though, is bumping into the very artist they’re travelling to see aboard their aircraft.

However this extraordinary scenario unfolded for a group of admirers who were preparing to board their flight from Stockholm, Sweden, travelling across the Baltic Sea to Helsinki in Finland to see Zara Larsson at her upcoming concert.

Sharing on TikTok, one fan posted the clip which captured the incredible moment she was lingering by the departure gate at Arlanda airport in Sweden, only to glance up and spot the pop sensation approaching the very same gate, instantly drawing the focus of numerous fans present, all travelling to attend her performance the next evening.

“Pov you’re flying from Sweden to Finland to see Zara Larsson and Zara Larsson shows up,” the fan wrote in the video’s caption.

The brief footage showed Zara chatting casually with several supporters at the gate, including one fan who spun around in amazement upon hearing the superstar’s distinctive voice behind her.

The TikTok creator then posted some snaps with Zara, who looked stylish in a black fur coat and vibrant pink nails. She chose to travel makeup-free as she was en route to her Helsinki gig scheduled for 26 November.

The video quickly attracted comments from other fans and has been viewed over 478,000 times within the first day of being uploaded on the platform.

“Crazy how she just flies in economy,” one fan commented, while another exclaimed: “Imagine sitting next to Zara on a plane omggg.”

A third fan chimed in: “Personally i wouldve started dancing lush life to get my lush life girl moment.

“How does it feel… to live our dream?” another asked.

Zara Larsson is currently wrapping up the European leg of her Midnight Sun tour, which kicked off in Munich on 28 October, before hitting London on 5 November, followed by Dublin and Manchester. She will then take the tour to the USA and Canada in February 2026.

POP star Lizzo has claimed plus-size women are being “erased” as society grapples with the impact of the “Ozempic boom.”

The Truth Hurts singer, 37, has lost a lot of weight in recent years but said she is “still a proud big girl” after years of championing the body positivity movement.

In an essay shared on Substack, she wrote: “So here we are halfway through the decade, where extended sizes are being magically erased from websites.

“Plus sized models are no longer getting booked for modeling gigs. And all of our big girls are not-so big anymore.”

But Lizzo, who said she still weighs more than 14 stone, hit out at people who have criticised her for losing weight.

She said: “We’re in an era where the bigger girls are getting smaller because they’re tired of being judged.

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“And now those bigger girls are being judged for getting smaller by the very community they used to empower.

“There’s nothing wrong with living in a bigger body.

“There’s nothing wrong with being fat.

“But if a woman wants to change, she should be allowed to change.”

She said she started exercising in 2023 following a lawsuit in which she was alleged to have sexually harassed former dancers, which she denies, and which she said left her suicidal.

Lizzo previously revealed she had also used weight loss medication, as well as overhauling her diet.

Other stars including Meghan Trainor, Rebel Wilson and Amy Schumer have been criticised for slimming down, having previously championed larger bodies.

But Lizzo said she felt compelled to do so because of how she was viewed by society.

The American musician explained: “I was sick and tired of my identity being overshadowed by my fatness.

“People could not see my talent as a musician because they were too busy accusing me of making ‘being fat’ my whole personality.

“I had to actively work against ‘mammy’ tropes by being hypersexual and vulgar because being a mammy by definition is being desexualized.”

She added: “We have a lot of work to do, to undo the effects of the ozempic boom.

“I want us to allow the body positive movement to expand and grow far away from the commercial slop it’s become. Because movements move.”

A POP superstar left fans doing a double take after an unrecognizable throwback snap resurfaced online.

The songstress, now 26, cut a completely different look as she posed with singer pal Zara Larsson, 27, at a swanky event in Italy.

Gone were her signature sexy stage outfits and platform heels in favour of a more demure black suit and point-toe heels.

And Sabrina Carpenter fans simply couldn’t believe the Espresso songstress’ appearance in the seven-year-old image.

The American’s blonde locks were much longer and in a darker shade, tied up in a high ponytail.

She added a flick of black eyeliner and struck a perfect pose for her snaps at Milan Fashion Week in 2018.

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One fan on Reddit was quick remark on her “wild” rebranding, which has seen her switch up her look with mid-length platinum blonde hair and sexy outfits.

She’s become more daring with her fashion choices, stripping off for magazine shoots and was even forced to defend herself against backlash on her latest album cover which saw her on all fours.

A pop fan has now posted on the forum afte the old image resurfaced: “Sabrina’s rebranding is wild! And it’s not a critique, before someone comes for me. She found her aesthetic.”

Another posted: “Pre-Short N Sweet (aka pre-bangs + glam) Sabrina is wild to look back on.”

A third wrote: “She looks way different but I think this is one of the rare cases where it’s really just aging (not aging as in “old” but as in “aging into adulthood”) and the bangs.”

Another said of the pair: “Yes styling is EVERYTHING! Went from cute high school girls to SUPERSTARS.”

One surmised: “Sabrina looks so pretty this way, I love her stage persona too, but this fits her so well.”

Sabrina first found fame in the acting world, on the Disney TV show Boy Meets World reboot, Girl Meets World.

She played Maya Hart on the series for three years, from 2014 to 2017.

Sabrina Carpenter and Barry Keoghan relationship timeline

Barry and Sabrina first sparked dating rumors in December 2023

They were first spotted having a dinner date at a restaurant in Los Angeles in December 2023.

Since then, Sabrina and Barry have been repeatedly documented going on dates and nights together.

In March 2024, Barry was seen cheering on Sabrina during her set when she opened for Taylor Swift’s Eras Tour in Singapore.

After her set, Sabrina was seen running off stage and into Barry’s arms in the crowd.

The two were also seen standing shoulder-to-shoulder when Taylor took to the stage.

A month later, Barry was spotted supporting Sabrina once more during her Coachella set.

Her last major film roles were in 2022, where she starred in Amazon Prime‘s Emergency and Tall Girl 2 for Netflix.

Espresso was released in 2024, and she has focussed on pop stardom since.

ON SCREEN

Yet the Manchild singer will soon return to her screen roots in the new Alice In Wonderland musical movie.

She is also co-producing the film alongside Oscar-nominated producer Marc Platt, who has worked on music-driven projects such as Wicked and La La Land. 

Sabrina will star in the titular role for an upcoming Alice in Wonderland movie that has been greenly by Universal Pictures, the studio confirmed to The Hollywood Reporter. 

While the project remains untitled, it will be based on the literary classic, Alice in Wonderland, by Lewis Carroll.

Lorene Scafaria, who wrote and directed the critically acclaimed film Hustlers, will also direct and write this feature.

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The beloved story of Alice in Wonderland follows the main character, Alice, who falls down a rabbit hole and finds herself in a world of nonsense and mischief.

The adventures that follow lead her to meet characters who have become pop culture icons, such as the Mad Hatter, the White Rabbit, and the Queen of Hearts.

AFTER their split in 2010 and cancelled reunion tour in 2020, I can reveal that The Pussycat Dolls are talking about getting back together.

I’ve heard that Kimberly Wyatt has been telling pals the girls have ironed out their issues and are reforming.

The band also featured Nicole Scherzinger, Ashley Roberts, Jessica Sutta, Carmit Bachar and Melody Thornton.

Members began leaving in in 2008, but the girls continued to make music before splitting in 2010.

A source said: “Kimberly has been open about the fact the girls have sorted out their issues.

“She also told pals they’ve been discussing a tour.

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“The Pussycat Dolls certainly had their differences over the years, but a comeback would send fans wild.”

Ashley, Kimberly, Jessica, Carmit and Nicole were set to go on tour in 2020 – but after the pandemic scuppered their plan, the idea was later cancelled.

Let’s hope nothing comes in the way of this reunion.

The Dolls started off as a burlesque troupe but in 2003 Nicole Scherzinger, Melody Thornton and Kaya Jones joined Carmit Bachar, Ashley Roberts, Jessica Sutta and Kimberly Wyatt to form the group.

Kaya went solo in 2004 and Carmit left in 2008.

They split for good in 2010 but got back together in 2020.

Want to hear Ariana Grande, actor, playing Ariana Grande, pop star? Make sure you have a ticket for her Eternal Sunshine Tour next summer, because after that she’s not planning to do another one any time soon.

In fact, she’s calling the tour her “one last hurrah.”

“I’m very excited to do this small tour, but I think it might not happen again for a long, long, long, long time,” she said Tuesday on the “Good Hang With Amy Poehler” podcast. “So I’m going to give it my all and it’s going to be beautiful and I think that’s why I’m doing it, because it’s like, one last hurrah.”

One. Last. Hurrah.

Grande is a mere 32 years old. That said, her last tour had 97 shows on two continents in less than a year. We would be tired of it too.

The 2026 tour, which runs from June 6 to Sept. 1, hits only 10 cities with multiple dates in each. Tickets went on sale a couple of months back, but there’s always the resale market.

Also, Ariana Grande the actor is very busy at the moment, with more going on than simply “Wicked: For Good” promotion. That obligation, though, has taken her all over the world for multiple premieres, including one in Singapore last week where she was accosted on the yellow carpet by a self-proclaimed troll looking to glom onto her fame and make it his own. (He is currently in jail.)

She has also been busy filming “Focker In-Law,” the fourth installment in the somewhat unlikely “Meet the Fockers” franchise.

“It’s just so great to sort of experience a new, new journey and learn from those around me,” one that includes Ben Stiller, Robert De Niro and Beanie Feldstein, she told Poehler.

The host said it sounded like this movie was “much less physically exhausting” than her work in “Wicked,” but Grande begged to disagree.

“I’m not sure I’m supposed to say this, but I have to say it ’cause you’re going to laugh your ass off. My character’s a triathlete,” she explained.

“Oh nooooo!” Poehler said. “So you’re always running?”

“I spent yesterday doing burpees and high knees with Robert De Niro, and he’s like, ‘Good job, Olivia. Good job,’” said the “Thank U, Next” singer, whose character is named Olivia Jones. “It’s like the craziest, most — I’m like, what is this movie? What are we doing? But I’m having a blast.”

There’s no corset, like Glinda wore, in “Focker In-Law.” No posture-altering shoes, according to Grande. But Stiller and De Niro are both big runners in their free time, which apparently starts in the neighborhood of 4:40 a.m. As for Ariana?

“There’s a lot of biking in this movie. Like a lot lot lot lot.”

No rest, apparently, for the wicked.

It takes a certain composure, as a teenager, to walk out onto Taylor Swift’s stage in a sold-out stadium and play an opening set to tens of thousands of fans who have never heard of you. But it takes even more conviction to use the occasion to play music almost guaranteed to leave them squirming — grimy, bloodletting noise-rock and electro about being a sexual menace and growing disillusioned with God.

The now-20-year-old singer-songwriter Sofia Isella did that last year, opening on the Australian run of Swift’s Eras tour. “Taylor was an angel for allowing me to share that stage,” L.A.-raised Isella said. “I wish I could have recorded that feeling. But the show itself is not as nerve-wracking as it is playing for 20 people. There’s something about a giant room that almost feels a little dissociative, like it’s not really happening or it’s not really there.”

“Dissociative” is a decent descriptor for Isella’s music, too — disorienting, unnerving, drawing out emotions you might not understand. But there’s so much skill in the performances and imagination in her arrangements that they may well get Isella — who plays the Fonda Theater on Nov. 16 — onto much bigger stages of her own, just as the world gets much bleaker around her.

“This next record, I’m having so much fun with s— that’s really f— dark,” Isella said. “It’s like, the only way to stop screaming about it is to have a moment laughing about it.”

Isella grew up in Los Angeles in a family with enough entertainment-biz acclaim to make being an artist feel like a viable career. Yet they still let her be feral and freewheeling in developing her craft. Her father, the Chilean American cinematographer Claudio Miranda, won an Oscar for 2012’s “Life of Pi” and shot “Top Gun: Maverick” and the recent racing hit “F1” (Her mom is the author Kelli Bean-Miranda). Looking back on her bucolic childhood in L.A., Isella recalled it filled with music and boundless encouragement, worlds away from her social media-addled peers.

“I’d been homeschooled my whole life,” Isella said. “My mom would leave little trails of poetry books for me to find, and my dad would set up GarageBand and leave me for hours with all the instruments and nothing but free time. I didn’t even have a phone until I was 16. When I first was on TikTok, I saw everyone had the same personality, because they had been watching each other for so long. Being around kids my age was so strange, because I’d grown up around adults — like, ‘Oh, these kids are so sweet and kind and adorable, but they think I’m one of them.’”

After her family temporarily moved to Australia during the pandemic and Isella began self-releasing music, it became clear that her talents set her very far apart. Drawing on her early background in classical music and a fascination with scabrous rock and electronic music, she found a sound that melded the Velvet Underground and Nico’s elegant miserablism, Chelsea Wolfe and Lingua Ignota’s doom-laden art metal and the close-miked , creepy goth-pop of Billie Eilish’s first LP.

Isella began self-releasing music during the pandemic. Since then, she’s landed opener spots on multiple high-profile tours.

(@okaynicolita)

Her early music showed a withering humor and skepticism of the culture around her (“All of Human Knowledge Made Us Dumb,” “Everybody Supports Women”), but singles came at rapid clip and translated surprisingly well on the social media platforms she loathed (she has 1.3 million followers on TikTok). It all got her onto stages with Melanie Martinez and Glass Animals and, eventually, Swift. (A Florence + The Machine arena tour opening slot is up next.)

On 2024’s writhing EP “I Can Be Your Mother,” songs like “Sex Concept” had the sensual fatalism of poets like Anne Sexton and Sylvia Plath, paired with the drippy erotic menace of Nine Inch Nails. “I’ll bend him over backwards, give him something to believe in,” she sings. “We’ll play the game, both go insane and then we’ll call it even … I’m the only god that you’ll ever believe in.”

“The first EP was this whole story of giving birth to yourself, this giant stretched-out muse,” Isella said, leaning into a stemwinder about the genesis of art. “It just doesn’t feel like it’s coming from me. It feels like it’s coming from some weird thing I somewhat worship.”

A May 2025 follow-up, “I’m Camera,” dealt with the depersonalizing effects of sudden attention. On “Josephine,” she makes tour life feel like a proverbial grippy-sock vacation to the breakdown ward — “I’m sock-footed, sick and selfish holding strangers’ hands … I lost something, I sold it, I only remember the ache.”

Isella’s wariness of institutions extends to her recording career. She’s still independent for now — surprising for an artist on Swift’s radar — and uncompromising about what a label would demand of her compared to what they can provide. “I’ve met with a lot of the big dogs, and they’re very kind people, but I just love the feeling of being independent,” Isella said. “Maybe I’ll change my mind on that, but I’m trying to fully understand a label and what its functions are, what it gives the artist in a social media day. I’m trying to fully assess that before I sign any magic papers.”

Her newest material (and her subversively eerie, Francesa Woodman-evoking music videos like “Muse”) feel perfectly timed to the apocalyptic mood in L.A. and the U.S. now, where an inexorable slide to ruin feels biblical. “Out In the Garden,” from September, hits some of the Southern gothic moods of Ethel Cain, but with a sense of acidic pity that’s all her own. “That there’s a small part of me that’s envious / That you full-heartedly believe someone is always there,” she sings. “That will always love you, and there’s a plan for you out there.”

Even at her bleakest, there’s a curdled humor underneath (her current tour is subtitled “You’ll Understand More, Dick”). But if this little sliver of young fame has taught Isella anything, it’s that even when everyone wants a piece of you, no one is actually coming to save any of us.

“There’s nothing with weight, nothing that’s meaningful, to blind faith,” Isella said. “On this next record, I’m about to go really angry because religion really pisses me off, it inflames me. But it’s the most beautiful placebo to imagine that there’s a father that loves you no matter what you do. I’m a really lucky person in that I’ve always been safe and protected, but if you’ve had a rough life, that is insanely powerful to imagine that and believe that.”

Alfredo Flores is always moving, but you wouldn’t know it from the precise stills he takes of Sabrina Carpenter emerging onstage, her cheekiness and sparkly go-go boots shining through his images.

The portfolio of 36-year-old Flores, Carpenter’s tour photographer, is already familiar to most. Those photos of Carpenter posed with the tour stop’s city labeled on a mug and sealed with a kiss — that’s Flores’ work.

He has captured Carpenter’s rise from her “Emails I Can’t Send” era to the dazzlingly successful Short n’ Sweet tour, the work from which earned Flores the iHeart Radio Award for favorite tour photographer and puts him back on the road next week for an additional North American leg, including her six-night run at Crypto.com Arena next week.

But Carpenter’s towel reveals, set changes and winks won’t look exactly the same.

“Creatively, I just try my best to figure out different ways to shoot the same show,” said Flores, fresh off VMAs adrenaline and the release buzz of Carpenter’s latest album, “Man’s Best Friend.”

He constantly alters angles and lenses, including long, short and fish-eye, all with his Canon — the camera brand he’s been loyal to his entire career. However, that doesn’t make his first forays into photography any less impactful.

Alfredo Flores smiling with Sabrina Carpenter.

(Courtesy of Alfredo Flores)

Flores’ trajectory as a live music photographer is informed by the era he grew up in, one of disposable cameras, 24-hour photo labs, VHS camcorders, photo books full of family vacation pictures and the visionaries behind the hits that made us press the replay button on CD players.

He recalls his path was charted before him one afternoon in his native Belleview, N.J., on a sick day home from school in the form of the VH1 show “Pop-Up Video,” which featured music videos accompanied by trivia-filled text bubbles.

“It was Mariah Carey’s music video for ‘Honey,’ and it said, ‘This video is directed by Paul Hunter. The location is Puerto Rico. This is an extra. This is a body double,’ ” said Flores, who added, “And it clicked in my brain, ‘Oh, this is something that people create’ … and that’s where my interest really peaked in a more professional way.”

In 2008, when the ultimate music video platform was no longer VH1, but YouTube, Flores moved to Los Angeles and sought out the minds who inspired him — the directors and producers who shaped his camcorder and disposable days, before he ever strapped a Canon around his neck.

“I went to the [Geffen Records] offices every day until I got a yes,” said Flores.

He spent his initial internship days showcasing his perceptive eye by compiling magazine photos for music video storyboards. It was this eye that quickly put Flores on set, shooting bonus footage for a 2009 Nickelodeon production, “School Gyrls.” The made-for-TV movie featured a certain Canadian teen who benefited from the YouTube boom.

The Justin Bieber cameo would develop into a working relationship, allowing Flores to pursue the art form that prompted his move to Los Angeles: directing music videos.

Flores’s music video for Bieber’s song “Love Me” encapsulates the early stages of Bieber’s career. Flores intercut Bieber singing to the camera with footage of fans, behind-the-scenes chats with Usher and numerous angles of Bieber’s signature look — the swoop that inspired hair flips round the world.

Years later, in 2020, when the world stopped, Flores didn’t. He co-directed Bieber once again for the “Stuck with U” music video, a montage of loved ones dancing and embracing in their homes. It was 4 minutes and 17 seconds of celebrated togetherness in the midst of government-enforced close proximity. The song is a duet between Bieber and Ariana Grande, an artist whom Flores defines as a “once-in-a-lifetime kind of talent.”

Flores spent much of the 2010s working with Grande, all angles taken into consideration. From her upside-down album cover for “Thank U, Next” to co-directing her more festive side for the “Santa Tell Me” video to incorporating nostalgia into a Grande-Victoria Monét collaboration, “Monopoly.” Co-directing the friendship anthem’s music video, Flores nodded to a ‘90s upbringing by using a decent amount of camcorder footage.

“Joan [Grande’s mom] probably has so many VHS videos of Ari growing up. And Beth [Carpenter’s mom] has so many VHS recordings of Sabrina,” he said.

The artistic journeys of Carpenter, Grande and Flores are intertwined with the sought-after music video director Dave Meyers. The Grammy winner has bestowed the world with distinct visuals, such as Kendrick Lamar re-creating “The Last Supper” while rapping “HUMBLE.,” Britney Spears accepting an acting award in the midst of belting out “Lucky,” and Grande as an ethereal being singing “God Is a Woman.”

Meyers directed two music videos for Carpenter’s “Short n’ Sweet” album with Flores as the behind-the-scenes photographer. Both videos helped facilitate Carpenter’s catapult into the cultural lexicon with the summer-infused shots in “Espresso” and the “Death Becomes Her” story line in “Taste.”

Alfredo Flores in the photo pit for Sabrina Carpenter.

(Courtesy of Alfredo Flores)

“BTS for me in the hands of Alfredo feels like a living yearbook of the experience we all had. I’m so deep in the creative process that I’m not self-aware of what’s happening, and to re-watch through his work allows me to enjoy the stories being told all around us. The capturing of the actual process, the passion we all share to create — those are the stories he captures over and over,” said Meyers.

Often, Flores takes those candid moments even further with a Polaroid camera — he points, shoots and hopes for the best. The instant photo is at the mercy of light and luck, which are part of the magic, he said.

“It’s the color, the grain, the imperfection of it all,” he said.

By definition, pop music is inextricably tied to its time period, the subject matter and sound speaking to its modern, often younger audiences. This can denote a fleeting quality, a trend to pass us by, not unlike the evolution of photography and videography.

However, the artists of today suggest otherwise. Carpenter covered Abba’s hit “Mamma Mia.” Grande sampled ‘N Sync in her “Thank U, Next” album. Both MTV and VH1 still have something to teach the music video directors of today. There’s lasting power in pop songs as are the mediums we associate with them. Who are we creatively if not an amalgamation of all we’ve seen, the people we know, the ways in which we originally consumed them?

“When I work with an artist we have longevity,” said Flores.

Not a surprising sentiment from the man taking a backstage Polaroid picture of a Gen Z pop star who praises disco.

POP icon has posted a massive apology to fans after being forced to pull out of a show at the last minute.

The New Zealand singer, 29, shared a statement on Instagram on Sunday, explaining she had to cancel her scheduled appearance at Luxembourg’s Rockhal after falling sick.

She explained: “Luxembourg, I am so sorry to have to tell you that I came down with ruthless food poisoning last night, and I’m still too sick to play for you today.

“I’ve been resting all day, hoping I’d be well enough, but I can hardly stand up, and you deserve more.”

“My sincerest apologies to anyone inconvenienced or upset by this,” the singer continued. “I can’t tell you how much I was looking forward to it. Our first ever Lux show, first night at Ultrasound EU, our one show with OK Lou, it’s beyond gutting.”

“Please know that if there was any way I could pull it off, I’d be out there. We are actively working with the promoter on rescheduling, so hold on to your tickets for now.

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“Refunds will be offered if the new date’s no good for you. Thank you for your grace tonight. Love, from a very weak girl.”

The tour cancellation comes as Lorde – real name Ella Yelich-O’Connor – kicks off the European leg of her Ultrasound World Tour.

She is scheduled to appear in Paris, France, tonight as scheduled, before making her way over to the UK and Ireland.

The upsetting cancellation comes after Lorde made her triumphant return to music this year by dropping her fourth album, Virgin, back in July.

It was her first release since 2021’s critically acclaimed Solar Power.

Her new release, led by single What Was That?, was so highly anticipated that a surprise set at Glastonbury caused an entire area of Worthy Farm to be shut down as fans dashed to see her at the Woodsies tent.

The album later shot to the top of the album charts, with What Was That peaking at number 11.

She’s also since noted she doesn’t intend to take such a big break again from making music.

The star, who first shot to fame with smash hit Royals at the age of 16, told Variety: “I’m definitely feeling very active and not needing a break from being creative. I’m feeling kind of insatiable, to be honest.

“So I don’t know, but I’ve thrown the gauntlet down that it’s not going to be four years [again], so I’ve gotta keep to that.”

ACTOR Orlando Bloom isn’t scared to have a pop at his ex-fiancée Katy Perry. 

The Lord of the Rings star was at a Halloween bash in a skeleton outfit with a pal who was dressed as the singer. 

US actress Rachel Lynn Matthews, 32, wore a black wig and blue jumpsuit — just as Katy did for her space trip this year. 

Rachel was even pictured kissing the ground, recreating Katy’s actions on her return to Earth in April from the all-female Blue Origin flight. 

Earlier this month The Sun revealed how Pirates of the Caribbean actor Orlando had been using posh cocktail bar The Rex Rooms, on the King’s Road in Chelsea for a series of dates. 

Orlando, 48, and Katy, 41, announced their split in June. 

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Katy, dating former Canadian PM Justin Trudeau, 53, details the relationship breakdown in her new single Bandaids. 

Taking to Instagram, Katy said: “To be honest I struggled for months with the idea of putting this song out… even after all these years it can be scary to be vulnerable… but hopefully the lyrics of this song resonate with someone going through what I have been through and maybe they won’t feel so alone and will find the strength to keep going like I have.” 

On the track Katy sings: “Hand to God, I promised, I tried… It’s not what you did, it’s what you didn’t.

“You were there, but you weren’t.” 

A source said: “Orlando and Katy split really amicably and only want the best for each other.

“He has been keeping things low-key but is dating again.

“He’s been on a string of dates in Chelsea and it looks pretty chill, but he’s having fun.

“Right now, he’s keeping it casual.”